Buscar:dj life

Greetings to the new generation of ‘Hip-Hop’ and ‘Shake Your Butt’ music. The man behind ‘Timeless Funk’ ain’t exactly no ‘Spring Funky Chicken’, yet he is still the ‘Funkiest Soul’ to rock this here nation.
Rufus Thomas is the Soul King and Grand Daddy of Funk; as his generation knew him then, as we know him today.

In the beginning, the ‘Power of the Most High’ said: ‘Let it be funky’. Then there was Rufus.
Rufus Thomas was born in 1917 in a small town outside of Memphis, Tennessee. At the age of ten he became a tap dancer. In the 1930s, Rufus worked professionally at the infamous Palace Theatre, Memphis, TN, as M.C., performing comedy and dance routines.

During the early 1940s, Rufus began his singing career. He also continued his M.C. acts at various notable nightclubs and theatres, for amateur nights. He was then considered to be a triple threat: dancer, comedian and singer! The notables he crossed hands with in those days were B.B. King, Bobby Bland and Johnny Ace. In the 1950s Rufus became one of the ‘Hip-pest’ DJs in Memphis TN W.I.D.A. radio station and is affiliated with the company to this day. He was quoted as saying ‘I’m young and loose and full of juice’. At those times he recorded ‘Bear-Cat’ for Sun Records, their first R&B hit for the label.
All-right ‘Kiddies,’ now I take you into the light of Rufus in the 1960s. When most of us were on our way to our happy existence, Rufus was already 30 years in the entertainment circuit. He was affiliated with STAX Records. With daughter Carla Thomas, he gave STAX their first hit, the duet, ‘Cause I Love You.’ Rufus’ world famous hits continued under this label, pouring songs out such as ‘Memphis Train,’ ‘Can Your Monkey Do The Dog,’…

The foregoing is merely a scratch on the surface of a remarkable man, who has dedicated most of his life to the entertainment business. It’s kept short and sweet so you know what you are dealing with.
Rufus was quoted as saying, ‘I ain’t a star, I don’t want to be a star. Stars have a habit of falling. I’m like the moon. Clouds may come and cover it occasionally, but it’s always there, and always shining. It’s just sometimes you don’t see it for a while but it’ll be back.’

If it wasn’t for Rufus, Soul Music would be missing one of its loudest sons. If he didn’t exist, somebody

Continued over…

would have to get up and invent him. And Funk? The man practically invented the stuff with James Brown.
Now at the age of 75 ‘The Oldest Teenager Alive’ check him out on this recording of ‘Timeless Funk’. We’ll agree and leave you with this note: Rufus is the ‘Moon’ that brought us what was ‘Funky’ then to what is ‘Funky’ now. So let us get ‘Buck Wild’ on the Funky side of things

Tony Scott (born Anthony Joseph Sciacca June 17, 1921 – March 28, 2007) was an American jazz clarinetist and arranger with an interest in folk music around the world. For most of his career he was held in high esteem in new-age music circles because of his involvement in music linked to Asian cultures and to meditation. Tony performed with many star as Billie Holiday, Sarah Vaughan and Harry Belafonte and before moving to Italy in the early ‘70’s he just cut two sought after masterpiece moving forward from his early idea of bop and cool jazz. In particular ‘Djanger Bali’ (1967 Saba) - recorded with The Indonesian All Stars - and the self titled Tony Scott (1968 Verve) - featuring Richard Davis on bass, John Berberian on oud and Attila Zoller on guitar – set the pace for a revolution in terms. This set recorded in Africa around the mid 90’s is a pure rhythm festival pushing the boundaries of his afro fusion agenda

Originally sold only on Air India flights as an aural souvenir of their homeland, this record deserves a wide recognition. This rare 1983 session credited to Dilip Roy could be easily labeled as a forerunner of the worldbeat fusion mania. Dilip was an arranger and orchestra leader for virtually all of Ananda Shankar's recordings. A dj friendly release, the album features moody and exotic sitar coupled with electric guitars, synthesizers, flute, vibes, organ, a string section and some strange and wonderful percussion. Rare groove the eastern way, it is time to embrace such an exotic masterpiece.

This is the very first original soundtrack of our new Japanese Anime Collection!

MEGALOBOX is the tribute animation to the legendary Ashita no Joe, produced by TMS Entertainment and broadcasted worldwide since 2018 with a dazzling success.

MEGALOBOX Original Soundtrack is produced by mabanua (Manabu Yamaguchi) and features several renowned artists such as DJ TAKU, KOMA-CHI or Michael Kaneko. It was acclaimed by the critics for its unforgettable rhythm and melodies, inspired by a broad variety of genres such as hip hop, black music and rap.

This soundtrack is now entirely remastered for the sumptuous vinyl format!

The Megalobox Vinyl Edition features:

- The illustrated gatefold with Joe and Yuri

- 2xLP black color, housed in two illustrated sleeves

- A 12-page booklet with comments from the composer and the team (Yo Moriyama, Keiichirô Miyoshi) and the English translated lyrics from the songs

I attended a trade fair in Rio de Janeiro, Brazil. In this show, we met producers, label and festival managers. It is a privileged moment when it is possible to learn about new trends, new musical forms, emerging groups. The timing of the meal is undoubtedly the most important. We take the time to introduce ourselves and discover each other. When my turn arrived, I took out my little map to locate the town of Sète on the map of France. There, an American promoter exclaimed "Yeah! You live in this beautiful city. Where there is this incredible music. ” I admit that at the time I didn’t quite understand what he meant but flattered by his remark I told him yes. Later, I realized that he was talking about gypsy music that made the whole world dream.



When my friend shared this anecdote to me, it resonated deeply with me. Indeed, for us, people of the south of France, this was nothing exceptional. Indeed, every day you could meet in the street a gypsy musician performing a rumba, another declaiming a fandango or another who liked to paraphrase the maestro Django. It is part of our daily environment, but it is indeed a peculiarity of this region. The territory of the Mediterranean arc, from Arles to Perpignan, is indeed the cradle of gypsy music in France. In addition, we must underline the major influence of the Gypsy artists of Catalonia in the development of these different artistic forms. Through weddings and family reunions, the repertoires have shifted to be reinterpreted according to the identities specific to each and the territories of residence.



With this new collection, we wanted to show, to hear all the musical richness of Gypsy and Manouche artists populating the territory. From appropriation to recreation, they never stop bringing this music to life, re-enchanting it and offering it a resolutely modern reading, open to the world. In this first opus, devoted to the guitar, we will take the routes of latin music, flamenco or jazz alongside renowned artists and young talents. With "The sound of guitars", it is a first door open to the gypsy music of the Mediterranean Arc, that we will discover gradually through the "Mediteranean Gypsies roads" collection.

In Post-Heretic Dracula X Chronicles II the Dracula figure functions as a part fictive and part autobiographical metaphor. Dracula mirrors certain systematic (therefore also internal) conditionings and attributes in its whole ambivalent fluctuations. This character represents the complex relationships of a loving/living person in a neo-liberal capitalist system while oscillating between melancholia & rage, facing the preservation or loss of his love and standing in an alienated position towards the ruling order. The eleven featured compositions and their respective song names (both of them are riddled with references) playfully touch on conflicts between love, life and system-critique, without being too upfront about the subject-matter.

Nicola Kazimir (*28.05.1990 in Zürich, Schweiz)

A DJ, producer, musician, artist, space-owner, record label owner and party organizer, Nicola Kazimir works freely across platforms and communities. For Kazimir, these numerous positions are not static, and they can actfluidly and reciprocally as a whole, or as separate entities. His artistic and acoustic productions are mostly based on topics that include the institutionalization of techno, copyright, dividualism and the human perception of repetitive rhythm patterns mixed with aesthetic codes of b-movie horror movies or occultism. He is one of the founders and still part of the labels Les Points/ Gentrified Underground / Infoline and the offspace Mikro Zürich. Other projects include a supporting role in the organization of Zentralwäscherei Zürich and being part of the Clubbüro-team at Rote Fabrik.

Over the past decade, Egyptian-born, Barcelona-based DJ and techno producer Raxon, known to friends and family as Ahmed Raxon, has popped out a steady stream of twelve-inch singles, precision-tooled, for labels like Cocoon, Drumcode, Diynamic, Truesoul, and Ellum Audio. An alumni of Kompakt’s Speicher series – check the insistent, vibrating pulses of “The Ancient” and “Dark Light” on 2019’s Speicher 107 – with Sound Of Mind, Raxon has produced a long-awaited debut album that’s ready and aching both for the dancefloor and the boudoir, traversing the heat of the club and the warmth of the home.

“The idea of an album has always floated around in my head for the past few years,” Raxon confirms, “but it was never the right moment in my mind.” Instead, he’s been insistently pursuing his vision of deep, elegant techno, taking him from early DJ gigs in Dubai, including the legendary audio tonic night, then relocating to Europe on the recommendation of Herman Cattaneo, all the while allowing his experiences to inform and transmute his producer’s thumbprint. He’s an architect by training (though he gave architecture up for electronic music), which might explain why Raxon productions are so sturdy and well-designed; but remember also that architecture is a field filled with brave experimentation, something Raxon definitely draws on throughout Sound Of Mind.

Like many albums from the past twelve months, Raxon’s debut developed partly thanks to the unique social situation the planet has found itself caught within. “In the beginning of 2020 I started working on a few tracks with the album in mind,” he recalls, “with no idea of what’s to come in the next few months. As catastrophic as the situation was/is, I found myself in the studio; in a way the lockdown gave me that creative freedom in the studio, to try to tell my story through sound.” And indeed, there is something in the way of ‘life writing’ about Sound Of Mind, particularly in the way Raxon’s productions pay subtle homage, perhaps, to his formative listening experiences in the late nineties.

It’s no retro trip, but there’s plenty of variety here, and a few moments that’ll tickle the collective memory – see the prowling pulsations of the opening “Majestic”, the alien breakbeat action of “Vice” and “Journey Mode”, where the interstellar tones feel like Foul Play or Steve Gurley, the leaking gas and woozy keys that make “Droid Solo” so subtly destabilising, or the strobelight drones that sputter and flare throughout “El Multiverse”, where dappled organ tones fight it out with interdimensional transmissions, all sucked into the vortex of a late-night techno mantra. Beautifully sculpted, Sound Of Mind feels consummate, an elegant set that pulls Raxon’s vision into its sharpest focus. Alive with possibilities, it’s a fever dream of creativity.

In den letzten zehn Jahren hat der in Ägypten geborene und in Barcelona lebende DJ und Techno-Produzent Raxon, der Freunden und Familie auch als Ahmed Raxon bekannt ist, eine ganze Reihe von 12inch-Singles auf Labels wie Cocoon, Drumcode, Diynamic, Truesoul und Ellum Audio veröffentlicht. Wir kennen Raxon außerdem durch seinen Beitrag zur Kompakt Extra/Speicher-Reihe – man höre sich nur mal "The Ancient" und "Dark Light" auf dem 2019 erschienenen Speicher 107 an. Nun hat Raxon mit “Sound Of Mind“ sein lang erwartetes Debütalbum produziert, das sowohl für den Dancefloor als auch für die eigenen vier Wände geeignet ist und dabei sowohl die Hitze des Clubs als auch die Wärme des eigenen Zuhauses durchmisst.

"Die Idee eines Albums schwebte in den letzten Jahren immer in meinem Kopf herum", bestätigt Raxon, "aber es gab nie den richtige Moment." Stattdessen verfolgte er leidenschaftlich seine Vision von tiefem, elegantem Techno, die ihn von frühen DJ-Gigs in Dubai, einschließlich der legendären Audio-Tonic-Nacht, dann auf Empfehlung von Hernan Cattaneo nach Europa führte. Im Laufe dieser Zeit sammelte er unzählige Erfahrungen, die es ihm erlaubten, seinen Stil als Produzent mehr und mehr zu transformieren. Raxon ist gelernter Architekt (obwohl er die Architektur für die elektronische Musik aufgegeben hat), was vielleicht erklärt, warum seine Produktionen so robust und gut durchdacht sind; aber man sollte auch nicht vergessen, dass Architektur bestenfalls immer ein Feld mutiger Experimente ist, etwas, worauf Raxon in “Sound Of Mind“ definitiv zurückgreift.

Wie viele andere Alben der letzten zwölf Monate auch wurde Raxon’s Debüt von der einzigartigen gesellschaftlichen Situation, in der sich der Planet momentan befindet, beeinflusst. "Anfang 2020 habe ich angefangen, an ein paar Tracks für das Album zu arbeiten", erinnert er sich, "ohne zu wissen, was in den nächsten Monaten auf uns zukommen würde. So katastrophal die Situation auch war/ist, ich fand mich im Studio wieder; in gewisser Weise gab mir der Lockdown auch eine kreative Freiheit im Studio, um zu versuchen, eine Geschichte durch meinen Sound zu erzählen." Und in der Tat gibt es auf “Sound Of Mind“ so etwas wie eine "Lebensgeschichte", besonders in der Art und Weise, wie Raxon’s Produktionen eine subtile Hommage an seine prägenden musikalischen Erfahrungen in den späten Neunzigern darstellen.

Es ist fürwahr kein Retro-Trip, aber es gibt hier viel Abwechslung und ein paar Momente, die das kollektive Gedächtnis kitzeln werden - zum Beispiel der sich langsam heran pirschende Pulsschlag im Eröffnungstrack "Majestic", oder die außerirdischen Breakbeats von "Vice" und "Journey Mode", in denen sich die interstellaren Sounds ein wenig wie Foul Play oder Steve Gurley anfühlen. Dann das ausströmende Gas und die wummernden Tasten, die "Droid Solo" subtil destabilisieren, oder die Strobo-Drones, die in "El Multiverse" herum sprudeln und flackern, wo einzelne Töne einer Orgel mit interdimensionalen Transmittern um die Wette strahlen und schließlich in den Strudel eines nächtlichen Techno-Mantras gesogen werden. “Sound Of Mind“ fühlt sich formvollendet an, wie ein elegantes Set, das Raxon’s Vision verstärkt in den Fokus rückt. Ein Fiebertraum voller Kreativität und Möglichkeiten.

"Guts finest selection from his DJ sets. Some dancefloor classics and some discoveries"

Any DJ set tells you, unconsciously or not, about its author.

Through the record choices and the way they are organized, one can feel the DJ’s state of mind and find out a bit more about the musical deposit discovered that is being shared and dug through by him or her at the moment.
The appetite for diggin’, the quest for a novelty or a forgotten rarity is what makes a DJ set a true organic living matter constantly fueled although not always, unfortunately, respected.
Time stretching. Too many DJ’s made a pact with this diabolical creature. A true digital steamroller that runs over the rhythm to fix the tempo while leaving behind an agonizing drummer whose sole crime was to have been carried away by his energy and having moved forward the BPM. At the end, everything that gave charm and life to the track, its imperfections and the peculiar fact that it makes you dance faster towards its end… all these along with all the lively movements contained within the track are reduced to nothing.

My conception of music and DJ sets is the exact opposite. Since the first volume of Straight From The Decks, my DJ sets have been redesigned, refreshed and improved. However, there was no preexisting plan, they evolved naturally following my new desires.

The famous core of my indispensable musical choices started to morph little by little into something different without losing sight of its center of gravity which remains undoubtedly afro-tropical.
No matter which track, its style and its origin, the quality of the music that is brought to my ears is always my sole and primary concern.
In this selection, you’ll find 7” vinyl records available to everyone sitting proudly next to some rarities found online and acquired through nerve-raking auctions battles. There are indeed exclusive remixes along with titles that until now were only available in their digital formats. Now for the first time they are available here in vinyl format. Obviously, if you have chosen the CD format, that precision doesn’t really matter…
Sixteen titles which have become the heart of my sets throughout this past year.
A heart which in a year will beat to a certainly different drum…
Pura Vida
Gutsto attend the next one..."

ntroducing a joint label Buena Gente Recordings (BG-01) and Sheweytrax (shew-33) connection! Side A - BUENA GENTE side featuring new Los Angeles producer, IVAN AM, with two DJ friendly cuts - "Exceed" a straight up tech-funky cut leading to 2nd track "Mourning Rain" perfect for rolling into the mornings. SideB - SHEWEYTRAX side features two by DELICATE INSTRUMENTS - a remastered version of tripped out "High Life" and last cut goes deep with "Turnaway" previously only available digitally. Solid beat focused 12" for the floors! Limited edition vinyl!

London-based musician Harriet Zoe Pittard aka Zoee has been described as an artist who writes 'personal pop for people who don't fit in' (Huck Magazine). Previously, Zoee has released singles through Ryan Hemworth's 'Secret Songs' imprint and Vegyn's label Plz Make It Ruins, as well as guesting as a vocalist on tracks with Hot Chip's Joe Goddard and with hyper-pop collective PC Music.Over the past two years Zoee has taken some time to nurture her voice and her sound. Her debut album 'Flaw Flower' is due on June 25th. 'Flaw Flower' is an honest and vulnerable glimpse into Zoee's interior world, a world she creates through marrying her real-life phone notes with imagery taken from modern works of literature such as "The Flowering Corpse" by Djuna Barnes, Sylvia Plath's "A Winter Ship" and Maggie Nelson's "Bluets". Through these 11 new songs, Zoee delves deep into her own emotional life, combining aspects of the everyday with the surreal in order to uncover the beauty found in being flawed. The record nods to the avant pop of the 80s, an era that Zoee has always been drawn to thanks to the expressive and trailblazing music of women including Anne Clark, Joan Armatrading, Cyndi Lauper, Rose McDowall and Anna Domino. The album is characterised by a mix of hi-fi and lo-fi instrumentation. 'The Loft' features a free jazz solo from acclaimed experimental saxophonist Ben Vince alongside stock GarageBand synths. 'Host' combines home demo backing vocals with an elaborate baby grand piano solo. Zoee sources foley sounds from YouTube and pulls from her own domestic field recordings, such as a microwave buzzing in 'Microwave' and a shower running in 'Evening Primrose', often using these sounds as the starting point for the songs. Maintaining intimate bedroom elements whilst developing a more expansive band sound, felt integral to the project, since that's where Zoee's writing process often starts, sat on her bed with her laptop and midi keyboard. Writing for the album began in October 2018 when Zoee started working closely again with friend and long-term musical collaborator Rowan Martin. As the material for the record began to take shape the writing and recording process also evolved with the addition of bassist Kyrone Oak and keys player Laura Norman, as well as contributions from Ben Vince and London pop artist Saint Torrente. "I feel like the songs on this album took me deeper into myself, the sad song that I thought was about a boy is still about that but it's also about loss, about self-determination, about not losing hope, about memory, about domesticity, about detachment, about my dad, about my mum, about change, about feeling incredibly alone, about growing up."

In the past years, the multi-instrumentalist, composer, producer and music enthusiast Jeff Özdemir had been focusing on organising the Live-Mixtape series in Berlin, inviting numerous artists to join him on stage for every single event. However, the year 2020 put an end to this for all the painfully obvious and obviously painful reasons. Undeterred, he instead put together the third instalment of the »Jeff Özdemir & Friends« series, working with singers, musicians and groups such as Knarf Rellöm & DJ Patex, F.S. Blumm, Joanna Gemma Auguri, Elke Brauweiler and Elmer Kussiac for an 18-track … Now, is this a compilation or an artist album? Well, why just either this or that when it can just be both at once? This is »Jeff Özdemir & Friends Vol. 3« after all, emphasis on »&«.

Released on Karaoke Kalk like its two predecessors from the years 2015 and 2017, respectively, »Jeff Özdemir & Friends Vol. 3« sees the man behind Kreuzberg’s 33rpm record store and the 33rpm Records label showcase his qualities as a people remixer, songwriter and versatile musician. He put together a collection of groovy tunes picking up on funk and afrobeat rhythms, introspective ballads, a musically channeled punk attitude, shoegaze sentiments, spoken word passages, drones, glockenspiel sounds, seriously fun experimentation and much more. Just like on the cover artwork - courtesy of Marion Eichmann, Özdemir’s favourite visual artist - everything here seems to discreetly exist for itself while being tightly connected to everything else at same time.

While artists like Ertan Doğancı, Désolé Léo, eng°n, F.S. Blumm and Zap have been long-term collaborators of Özdemir and were featured on previous instalments of the »Jeff Özdemir & Friends« series, new faces and forces also enter the mix. The melancholic »Love Letters« for example marks the first (though hopefully not last) collaboration with singer Joanna Gemm Auguri, while Knarf Rellöm & DJ Patex’s appearance has been dreamt of collectively but hasn’t been fully realised until now.

Whether it’s Désolé Léo’s French crooner soul, the lo-fi synth pop song »Bored« featuring former Commercial Breakup singer Elke Brauweiler or the many different sounds and styles presented under the name Jeff Özdemir: no decision is ever made between either that or this musical direction, but all are being joyfully enjoyed together. Thus, throughout its 70 minutes, the stylistic diversity of »Jeff Özdemir & Friends Vol. 3« does not once border on randomness. Instead, these sometimes very different songs are marked by a shared atmosphere - a direct result of these very different musicians approaching their studio time together less as a chance to make music but more of a chance to carefully listen to and interact with each other.

Just like you’d expect it from someone deeply connected with the local music community who also happens to run a record store, Özdemir is also the kind of person who’ll hand you the worn copy of a record he has just fished out from the bargain bin because he knows about its potential to change your life. The contributions by Vackrow (»Kleistpark«), Gebrüder Teichmann’s old band BeigeGT (»Disco«), and Otto von Bismarck (»Zu viele Erinnerungen«, produced by The Whitest Boy Alive’s Daniel Nentwig) do not even feature Özdemir, but are simply musical pearls that were (almost) lost in the shuffle of music history and unearthed for this very special occasion. That’s just what friends do, don’t they?

Germany’s Tilman inaugurates his new imprint Pleasant
Systems this June with the ‘Adventures’ EP, featuring
collaborations with Will Buck and Rhode & Brown. Mainz,
Germany based producer and DJ Tilman has been dropping
his twist on contemporary house over the past decade on
labels such as Shall Not Fade, Life Is For Living and Quality
Vibes as well as his own Fine imprint, run in collaboration
with Johannes Albert. Here though, Tilman marks a new
beginning with the launch of Pleasant Systems, a new
imprint designed to shine a light on vintage inspired house
sounds from both himself and friends. Up ¦rst is ‘What’s
Mine Is Mine’, a collaboration with Brooklyn’s Will Buck which
lays down an amalgamation of airy synth pads, choppy bass
stabs, bright piano lines and enchanting §ute like melodies
atop a swinging drum groove. ‘Strawberry Fields’ follows,
stripping things back to shu©ed percussion, billowing
ethereal textures and wandering sub bass tones while
§uttering brass tones and resonant leads ebb and §ow
within. ‘Velvet Park’ opens the §ip side, this time joining
forces with Rhode & Brown, embracing a classic sound with
raw crunchy drums, delayed piano chords, bumpy bass
stabs, cinematic strings and brass hooks throughout. ‘Lovin'’
then rounds out the release, dropping the tempo, featuring
the voice of Tilman himself and laying focus on off-kilter
organic percussion, twinkling resonant tones, eighties tinged

More a family than a band, BANDA MAJE formed in a home studio in the historic district of Salerno, in Southern Italy, on the initiative of Peppe Maiellano (composer and keyboards) and Tonico Settanta (producer, rapper and DJ). The collective has an ever-changing number of members, all of whom – a bit like the lively port city they are from – exist at the crossroads between Italian melodies and imported genres like funk, soul and disco.

Released by Four Flies Records, a label specializing in vintage Italian soundtracks and brand new productions with a strong cinematic feel, Banda Maje's debut album "Ufo Bar" transports you to an imagined version of Salerno that combines local tradition and 70s pop and film culture.

Listening to the album's eight funk- and soul- infused tracks also means seeing stories unfold in the streets of this re-imagined city: from the jubilant uprising organised by the women from the Rione Fornelle neighborhood in "Fornellesse", to the cigarette smuggling story in "P' ciel, p' mar, p' terr"; from the distinctly southern Italian pucundria (bittersweet melancholy) in "Sunday Embarcadero", to the saga of provincial nightlife in "Living Disco Club".

While the LP's Side A is sunny and cheerful, its Side B is more nostalgic, almost nocturnal, with bittersweet vibes in "2010" and new wave-influenced synths in "Ago". This variety of moods reflects the emotional depth behind the music of Banda Maje: "We want to leave a trace of what we experience: the narrow little streets brimming with life; our love for Neapolitan music, for Italian soundtracks from the 70s, for B-movies and the saga of cigarette smugglers; our passion for vinyls and cassette mixtapes, not to mention second-hand love affairs and dusty afternoons spent watching third-division football."

Bottin teams up with Francisco (Jolly Music, L.U.C.A.) for a drugged-out, sexed up, slo-mo psych-rock aptly titled LOVE LIFE. Old acquaintance Rodion steps in on remix duties, working deranged synth magic in the extended dj version. On the flipside, Argentina's Fernando Pulichino (2020 Soundsystem, Silver City) joins in with his flamboyant bass and shimmering guitars on DELTA TIGRE, an afro-cosmic sound contraption. The IchiSan remix heads up to the sky, all the way to synth heaven. Overall a compelling, throbbing disco-not-disco EP for adventurous djs and dancers in-the-know, who want to hear something different and juicy.

What began as a challenge to fight creative stagnation, soon grew into a fully-fledged audio-visual project for Belgian DJ, producer and live artist, Biesmans. Setting himself the goal of making three tracks per week for a month, he re-scored ‘80s pop culture moments – including films, TV shows and games, resulting in a brilliant 12-track work encompassing new wave, indie, dark wave, electro and
disco.
Moving his modular-heavy studio to Berlin in 2014, the ensuring years saw Joris Biesmans drop heat on Correspondent, Disco Halal, AEON, 17 Steps and Future Disco. He’s been a core member of Watergate
family since his arrival in the capital, working as the club’s sound technician. He made his debut on Watergate Records in 2020 with the well-received ‘Electric Love’ EP.
The ‘Planes, Trains & Automobiles’ album took shape in April last year as the lockdown was starting to take grip and Biesmans needed a positive distraction. Ensconced in the music of his childhood and ‘80s
pop cultural fodder, he locked himself in his studio and set about creating, later digging through archival footage to match the music. Biesmans, who previously undertook work scoring films, was so absorbed by the process, he’d sometimes do it in reverse; allowing the vintage media be the guide. Throughout the period, the clips were shared each Monday, Wednesday and Friday on his Instagram, building up a firm following from fans, friends and colleagues. And thus, the project found its wings, developing into an album.
Throughout the dozen tracks, highlights are plentiful; from the neon ambience of the Kraftwerk-inspired ‘ ‘Cosmic Cruise’, which later accompanied a smoky scene between Tom Cruise and Rebecca de Mornay in ‘Risky Business’; the sun-soaked, retro-pop title track, which became the album’s first single, and was paired with a jubilant dance scene from the Breakfast Club; ‘Cold Void’, the album’s second single, which saw Biesmans link up with fellow Belgians Boi Wonder and Tom the Bomb for a dark wave creation built around a heavy guitar solo and set against a backdrop of Blade Runner clips; and the silky electro funk of ‘Another World’ that soundtracks scenes from Miami Vice.
Biesmans explains about ‘Planes, Trains and Automobiles’: “I started this as a lockdown challenge, in which I would make three tracks per week for a month, alongside providing videos where I re-scored
footage of 80s pop culture moments. Inspired by the movie of the same name, I picked the title because it ties to the theme of ‘mobility’. Our society is based upon being mobile and when Corona hit us, we
could taste a bit of being immobile. As an artist that meant, I could focus on making music 100%. No distractions, no weekend gigs, no parties just making music. This new lifestyle resulted in my first album.
A journey into the past but looking forward to the future, experimenting with other genres and techniques to make a real album that goes beyond club music.”

Tibor Szemző is not only a skillful and experienced Hungarian musician but also a media artist with a vast imagination. His last LP, ARBO X – Csoma Grooves, refers to his full-length film A Guest of Life released in 2006, for which he not only directed but also composed all the music. The film is inspired by the life of Alexander Csoma de Körös, a remarkable polyglot from the 19th century who set out from his native Transylvania to central Asia on foot to look for the roots of the Hungarian language. He reached Tibet, dedicated the rest of his life to study of Tibetan manuscripts and finally became the founder of tibetology. After 14 years Tibor Szemző decided to explore the theme further and composed the cinematic performance, Silverbird and the Cyclist, where he as narrator presented the story of Csoma from a different perspective.

ARBO X is the music from this performance and it is based on the soundtrack of the original movie but the material has been restructured and enhanced by new layers. There are fourteen relatively short tracks on the album and each of them has a very specific character, sometimes mysterious as the titles of the tracks themselves. Their arrangement is ingeniously composed. Szemző’s typical bass flute and voice with percussion accompaniment on the first track Axis is a very impressive introduction to the whole album. The following tracks build up a series of colorful sound parables, which are in no way descriptive. Every element, whether it’s a double bass, viola, soprano voice, vocal trio or electronics, fits perfectly within the overall sound fabric with effective timing. Listening to ARBO X one unwittingly concentrates on interweaving details without loosing the sense of the whole. It’s certainly a great benefit, as in previous recordings, that most of the musicians participating in the recording of ARBO X are very familiar with Szemző’s music and his collaboration with some of them goes back to Group 180, a new music ensemble he founded in 1978 and soon earned international acclaim. This most recent album belongs among a long line of recordings that Tibor Szemző has released during his musical career and displays great compositional complexity and a keen sense of a perfectly balanced sound spectrum.

Alexandr Krestovský

Moonlit Train’ is the debut album from up-and-coming singer-songwriter/ MC Tiawa(pronounced tea-ah-wa) aka Brightonian Tia-Awa Blackhorse.
Meandering between neo-soul, hip-hop and jazz ‘Moonlit Train’ is a conceptual record that journeys through relationships, heartache, and healing. Produced by collaborator and multi-instrumentalist Jack-Chi aka Jack Kingslake -a Bristolveteran who cut his teeth as a producer in the city - the album sets the stage for a new chapter in Tiawa’s career on hometown label Tru Thoughts.
Fusing soulful vocals with the jagged edge of a rap-styled flow, Tiawa lays the foundation for her timeless yet graceful sound and lyrical maturity that confutes her youth. Themes of healing are at the core of Tiawa’s creative output, while simultaneously exploring her Portuguese heritage.
In the artists’ words: “Each song on the album is an emotion. I hope it helps to heal people in serious situations and make them feel better when they listen.
“Saudade” is the introduction to ‘Moonlit Train’ and opens with a Portuguese poem that translates to ‘don’t be sad now, I’m going to play a song for you.”
Described by the artsdesk as “pure trip-hop”, Tiawa has been championed by the likes of legendary DJ David Rodigan (BBC Radio 1Xtra), broadcaster royalty Cerys Matthews (BBC 6Music), and underground purveyors Off Licence Magazine.’ - Previous support Youth (Killing Joke), David Rodigan (BBC 1Xtra), Cerys Matthews (BBC 6Music), Off License Magazine. - Featured on WheelUP’s single “Take Me Higher” and the album “Good Love”.

7” vinyl imprint Alim Music revisits Osunlade’s distinctive versions of Jazzy Jeff’s classic cut ‘Rock Wit U feat. Erro’, with special ’45 edits of both the ‘Yoruba Soul Mix’ and ‘Yoruba Soul Dub’ created specially by Osunlade himself.

Appearing on Jazzy Jeff’s 2002 BBE debut album ‘The Magnificent’, ‘Rock Wit U’ started life as a smooth and soulful R&B cut, featuring sultry vocals from Erro (Eric Roberson). Back in 2001, production hero Osunlade remixed the track, taking this slow jam into dancefloor territory, where it became an underground hit, championed by the likes of Joe Claussell and Masters at Work.

Brace! Brace! That record is a bouncing riddim, and we never know where it's gonna land: here noise or miami bass, there dark disco and then Balearic. What could be an easy puzzle for diggers always feels true though. Sincere, like the 14-year-old DJ F16 Falcon, going nuts on some American nu hardcore - the back of the record are actual screenshots testifying of that moment. A life ago, DJ F16 Falcon used to be a part of the noise music scene in Paris, releasing music under the Roger mpr moniker. He dropped the complicated stuff for dance music but kept the industrial touch. We all need some dance. And we all need a Sugar Dada.

Raised in Corsica, Stephanie made a name for herself as a dj in Paris but more recently focused on producing her own sound. The roots of her musical style are deeply entrenched in Pop, House and Ambient music, all genres that to her reflect our human desire to express our feelings. Her heartfelt debut, AUTEL, released on new label Lake Of Confidence, is an invitation to be fully present in the moment and listen to ourselves with awareness. The track "Disarm" is an uplifting tonic for the soul and could not have come at a more fitting time, encouraging the letting go of fear. Stephanie's grounded voice and the tender tones of the music take us on a liberating journey and reminds us of what is important in life - to move beyond ourselves and embrace joy. The captivating "Unchain" and the Superpitcher remix of the track, are both powerful guides for deep contemplation. Each beat is a metaphor of the breath of life, space and the impressive vastness of this extraordinary mystery we live in.

Founded in 2010, Hussle’s All Money In made an epochal debut with its very first release, “THE MARATHON,” marking Hussle’s fifth official mixtape and follow-up to his introductory “BULLETS AIN’T GOT NO NAME” trilogy. Named among XXL’s “100 Best Mixtapes of 2010,” the collection was quickly followed by 2011’s “THE MARATHON CONTINUES” and then 2013’s “CRENSHAW.” Along with his work as a lead artist, Hussle has previously collaborated with a veritable who’s who of contemporary hip hop, including Kendrick Lamar, Drake, Rick Ross, YG, Ty Dolla Sign, Meek Mill, DJ Mustard, Young Thug and many more. As if his musical career and role as label boss weren’t enough, Hussle is also successful entrepreneur. In addition to The Marathon Clothing line and store, Hussle also owns a number of successful businesses including The Marathon Agency, SC Commercial Ventures, Proud 2 Pay, and of course, All Money In No Money
Out Records.



[b] 2 Rap Niggas [Explicit]

Several years ago, the Disco Records DJ Crew members got their hands on a couple of original 70s obscurities, while these standout records shone brightly in their own right, the team finally decided to put them out as those obscure old records fetch eye-wateringly high prices on the second-hand market. Due to popular request & lovingly mastered to the highest possible standards, they are now available to play and share in very special moments at parties around the world. This will surely be one of the most keenly anticipated disco release of the year. For our first release, we are extremely proud to bring you at last, three very hard to find disco anthems on sides A & B in their glorious full extended versions

Global electronic sound specialist - Producer and DJ Oliver Williams aka "The Busy Twist" is at it again. Among his numerous projects as a producer, this double-sider, dancefloor-focused EP is one of his seldom seen, more personal works in the vein of what he does best: an uptempo, bass-heavy madness, influenced by his regular trips to Africa, Latin America and the West-Indies, packed with undeniable British club music culture and production technique. Highly infectious energy, pure sunshine, 100% good vibes. Following up on The Busy Twist previous collaborations with Congolese singer Tres. "Nanko" is another joyful, sun-soaked, highly danceable Electro-Soukous party joint, loaded with captivating guitar grooves and soulful vocals. On the flip, "Rwendo Rweupenyu (The Journey Of Life) Remix" is an outstanding take on Zimbabwean Sungura Music (one of the country's most popular genres), originally performed by street band Daniel & Gonora Sounds, led by singer-guitarist Daniel Gonora and his drummer son Isaac. Respectfully using Daniel's mind bending guitar riffs and highpitched, uplifting vocals, The Busy Twist and his collaborator delivers an inspiring and remarkably effective version of the original song. Vinyl contains exclusive extended and instrumental Dj-friendly versions of both tracks that won't be available for download anywhere.

Part of Ernesto Chahoud’s ‘Middle Eastern Heavens’ album series, BBE Music reissues Lebanese composer Ihsan Al-Munzer’s 1985 masterpiece ‘Sonatina for Maria’. Al-Munzer’s sixth solo release, the first entirely composed of his own original works, ‘Sonatina for Maria’ takes a step away from the sound of his earlier ‘Belly Dance Disco’ album (reissued by BBE in 2020). This innovative library album features eight synth-driven instrumentals that effortlessly flow through psychedelic pop, cinematic soundtracks and disco music. Taking in a range of styles, the album illustrates Al-Munzer’s skill in composition and arrangement that saw him become one of the busiest arrangers of Lebanon’s 1980s pop scene. The record goes deeper into the Western rhythm Al-Munzer explored at the beginning of his career and brought to his Middle Eastern fusion productions, with the synthesizer still taking centre stage, and the electric guitar, bass and drums ever more present. When Al-Munzer entered Copenhagen’s Sun Studio in 1985 to record ‘Sonatina for Maria’, the composer thought it would be his last ever album. Diagnosed with mouth cancer, he had travelled to Denmark for treatment and decided to make one final work while awaiting his operation. The composer wrote the record during a particularly challenging period in Lebanon too – the country was buckling at its knees: destroyed, bankrupt and beaten after 10 years of civil war. “When I made the album, I had a sad feeling because of the war in Lebanon and it was hard for me to be away from my country at that time” reflects Al-Munzer. Hence, the album has a particular originality and energy across its eight tracks, wrapped up in melancholy and nostalgia for a troubled homeland, as well as showing a lust for life. Dedicated to his then five-year old daughter, title track ‘Sonatina for Maria’ is an up-tempo disco instrumental with a classical theme. Several pop ballads feature on the album, as well as trippy 1980s TV-style soundtrack ‘Dindolo’ and Arabic disco instrumental ‘Mishwar’ (Picnic), revolving around a punchy Middle Eastern melody. The album includes the main theme from the 1983 Lebanese film ‘Al Makhtouf’, one of three films for which Al-Munzer wrote the soundtrack. Directed by Clauda Akl, the film starred iconic Lebanese singer and actress Sabah. ‘Streets of Beirut’ captures the atmosphere of the Lebanese capital’s deserted streets in wartime and the album closes on fast-paced Euro-disco instrumental ‘Gipsy Nights’. Al-Munzer’s five releases from the 1970s and 1980s are part of BBE Music’s Middle Eastern Heavens reissue series, a collection of ground-breaking productions from Lebanon, curated by Lebanese DJ, compiler and music researcher Ernesto Chahoud. Notes by Natalie Shooter, edited by Will Sumsuch.

KNTXT kicks off 2021 by welcoming exciting new talent ONYVAA to its ranks. The much vaunted DJ and producer debuts with her Lost Angeles EP, a superbly powerful four tracker that is perfectly at home on this agenda setting label.

ONYVAA is an LA based artist who has been on a swift rise up through the global techno ranks in the last couple of years. She brings classy Detroit, melodic and dub influences to her music, and her raw analog aesthetic always helps ensure her stylish tracks bring plenty of atmosphere to go alongside her strong modular live-sets. Now, she steps up with a much anticipated debut on Charlotte de Witte's KNTXT label having struck up a personal friendship with the influential artist.

Says ONYVAA, "Lost Angeles was inspired by my time back home in LA and things feeling a bit foreign to my everyday life pre-covid. I’m super grateful for all of Charlotte’s support and really proud to be a part of the KNTXT family. Hoping to play these tracks out on the dance floor soon!"

Opener 'The Way It Is' wastes no time in laying down a heavyweight techno groove that is run through with edgy, laser-like synth riffs. It's an all consuming wall rattler that will blow clubs away. 'Lucid' is a darkened techno roller again lit up with expertly designed synths that are bright yet menacing as distant vocal sounds add another layer of tension. It's an all out acid attack on 'LXD' which places you at the heart of a rave, strobe lights flashing, smoke in the air, darkness enveloping you. The title track closes out at hyper speed, with turbocharged drum programming, interwoven bass and clanking industrial motifs all getting you thoroughly in the zone.

Says Charlotte, "I met Shelby for the first time after a show in Athens. We visited the city the day after and instantly became friends. Whenever the opportunity would arise, we’d spend time together. I love being around the ball of energy that is Shelby and I’m beyond excited to have her and her music on my label. Expecting big things from her!”

This is a fantastic new signing for KNTXT and surely the start of even bigger things for ONYVAA.

Pixey grew up in the sleepy but picturesque village Parbold, Lancashire before moving to Liverpool for school and remaining there to this day. Now signed to Chess Club - a label famed for breaking new talent, where recent exciting signings include AlfieTempleman and Phoebe Green, and past successes include Jungle, Wolf Alice and Easy Life - Pixey is making more waves than ever before. ‘Just Move’ drew attention from BBC Radio 1 DJs Jack Saunders (who made Pixey one of his Next Wave artists) and Huw Stephens amongst many other admirers like Radio X’s John Kennedy who added the band to the X-Posure playlist at the station in October. Pixey has also featured as the cover artist of Spotify’s Indie Brandneu (GER) and Peach editorial playlists, and wasamongst the artists named in major annual tips lists, the Dork HYPE List and the NME 100.



New single ‘Electric Dream’ - with its accompanying video by Thomas Davies - combines cavernous drum machines and dreamy pop melodies with a signature dance stomp. Speaking about new single, Pixey explains: “‘Electric Dream’ was originally written as a piano ballad but after finishing the lyrics I felt the song worked as a dance track. I wrote it to make sense ofbeing locked in with nothing to rely on but technology. The verses are all of my anxieties that come with that - like trying to simulate humanity digitally and what kind of a future that would be - but the choruses are about the imperfections of real life that technology and AI can’t give us.”



Debut EP Free To Live In Colour was written, recorded and produced in Pixey’s bedroom in Liverpool - with additional production added by frequent Gorillaz and Jamie T collaborator James Dring - and draws inspiration from genres like hardcore breakbeat and





dream pop. Pixey says: “I wanted a collection of tracks which gave a quick snapshot into me and my brain - where I’m from, where I want to be and what I’m thinking about. I hope people can take something meaningful from it or simply have a dance.”



Pixey first discovered music as a toddler - she remembers not even being able to walk yet but desperate to sing and dance to Queen - before discovering the likes of Kate Bush, Björk, and George Harrison, whose classic songwriting struck a chord with her in her youth. The catalyst for Pixey’s musical coming of age however, was a near fatal viral illness suffered in early 2016 which hospitalised her, she says: “When I thought I was going to die I thought of all the things I wish I’d done and music was the first thing I thought of. As soon as I started recovering I started learning to record and produce.” She taught herself Ableton production software before mastering guitar and eventually drums and bass after her previous (and current) boyfriend(s) left their instruments lying around to prove she could learn it quicker and play it better.



Once able to carve out her own sound, Pixey turned to The Verve, The Prodigy and De La Soul for sonic inspiration, adding: “I particularly like the idea of using samples/making my own riffs sound like samples which was heavily inspired by the De La Soul album 3 Feet High and Rising. Starting out initially though Grimes was a huge catalyst when I realized she wrote, recorded &produced herself.” Her prolific and unusual songwriting style stems from an original riff or beat, with further layers added as she records and produces, and lyrics being added last - the process taking only a day or two.



With Free To Live In Colour and a whole arsenal of further material being readied on her new label home, Chess Club, Pixey is primed for big things in 2021 and beyond.

FUSE reveal the first single from Paolo Rocco’s forthcoming album ‘Ever So’ alongside house icon Robert Owens, backed by two slick remixes from S.A.M.

Ahead of the release of his ten-track album on the label in late-April, FUSE unveil the first single from Montreal based talent Paolo Rocco’s ‘Life In Pieces’ LP as he combines with legendary singer-songwriter, DJ, producer, and one of the most iconic voices in house music, Robert Owens, to deliver the soulful and slick ‘Ever So’ – accompanied by two warping remixes from Mandar member and Delaphine boss S.A.M.

A warming and rich production from the off, ‘Ever So’ welcomes a melting pot of classic and modern influences as Rocco’s bright keys and resonant chords meet Owens’ infectious and inimitable vocals to reveal a smooth, classy slice of house music. On the flip, S.A.M’s first interpretation of the production sees the introduction of trademark swirling, spacey synths and vibrant stabs, whilst his ‘Hypnotic’ take on the production flows and journeys into deeper moments guided by arpeggiated melodies, acid-tinged basslines and sweeping atmospherics.

Die Footwork Legende aus Chicago, DJ RASHAD, beschließt ein erfolgreiches Jahr auf Hyperdub mit seinem ersten Album für das Label und baut damit auf zwei EPs auf, die deutlich demonstriert haben, wie sich der Sound von ihm und seinen mannigfaltigen Teklife Kollaborateuren im Jahr 2013 entwickelt hatte. Benannt nach dem Freizeitcocktail aus Sprite und Kodein treffen auf ,Double Cup" traditionelle 808 Footwork Ausbrüche auf die neuesten Mutationen des Sounds und zeigen so die Vielseitigkeit und Kraft der Chicago Szene im Jahr 2013. Das Album wirft Hip Hop, R&B, Acid, House, Techno und Jungle in seinen Footwork Shredder und spuckt diese auf der anderen Seite als zusammengeklebte Fragmente wieder aus, zusammengehalten durch schnurrende 808 Subtriplets und kantige Polyrhythmen. Das Album wärmt sich langsam mit einem G-Funk Swing auf, der typisch ist für RASHAD und SPINNs Kollaborationen mit TASO aus San Francisco. Diven mit Schluckauf räkeln sich auf den Rhythmen von ,Show U How", ,Only One" und ,Everyday Of My Life" mit Raps von der Crew auf ,Pass That Shit", ,She A Go" und ,Kush, Drank, Barz". Das bereits veröffentlichte "I Don't Give A Fuck" markiert den düsteren Dreh- und Angelpunkt des Albums; das Tempo zieht in der zweiten Hälfte an mit dem treibenden Viervierteltakt des Titeltracks ,Double Cup", dem donnernd gepressten ,Acid Bit" und dem Chicago House von ,Reggie" und ,Leavin. Den Höhepunkt markiert die Breakbeat Wissenschaft von ,Let U No" und ,I'm Too Hi". ,Double Cup" ist vorausschauende Musik für die Tanzfläche und unterstreicht, dass Footwork an der Macht ist.

17 Track compilation of all of their studio recordings, remastered and pressed on Electric Blue Vinyl. Presented in gatefold sleeve with never seen before photographs ,a printed lyric inner sleeve and poster.
The VIP’s were formed in 1978 while at Warwick University. Within weeks they were gigging at clubs in the Midlands, often on the same bill as THE SPECIALS in Coventry. Soon they found a manager, Clive Solomon, who with Timmy Mallet (now a TV and Radio presenter) and both students at the university, financed the group’s first single the EP ‘Music For Funsters. In the summer of 1978 they built up a loyal following in London. The single was picked up by John Peel, who played it constantly on his BBC radio show through the year. The 3 track EP, featuring ‘I’m Perfect’, ‘I Believe’ and ‘Boys of the City’ was released on Clive Solomon’s own ‘Bust’ label.
In 1979 the VIP’s could be found playing all over the country, frequently on the same bill as Squire, stablemates on Clive Solomon’s label.
In early 1980 they went into Olympic Studios in Chiswick to record some tracks with ex-THE ANIMALS bass player and SLADE/Jimi Hendrix manager Chas Chandler. The track ‘I Thought You Were My Friend’ was recorded at these sessions A few weeks later a major record deal was agreed with Gem Records/RCA and ‘Causing Complications’ came out in March. To coincide with the release the VIP’s went on tour supporting SECRET AFFAIR.
After the tour the single ‘The Quarter Moon’ was released, another track produced by Mike Leander. It received extensive airplay around the UK and beyond, and was also picked as BBC Radio 1’s Record of The Week by DJ Mike Reid on his Morning Show, as well as being Radio Luxembourg’s ‘Power Play’ for two weeks. The constant touring, recording and radio play had earned them a spot on Top of The Pops but they were suddenly told -on the afternoon that they were due to appear - that an industrial dispute at the BBC had resulted in the show being cancelled. Disappointed, they continued to record and tour, this time with MADNESS, THE BEAT and DEXYS MIDNIGHT RUNNERS amongst others. This time Bob Seargent (of The BEAT and HAIRCUT 100 fame) was recruited to give ‘Need Somebody To Love’ that sparkle and edge to capture The VIP’s live sound on vinyl. Although perhaps the most representative of the band’s sound, Top of The Pops again eluded them.
By the end of 1980 the VIP’s were selling in Spain, Germany, Italy and France through the RCA label but they seemed to be losing heart with the business. Illness -Jed had been touring with a collapsed lung - and tensions saw the band play their last concert at Leicester University. A fourth and final GEM single, ‘Things Aren’t What They Used To Be’ (a song taken from their earlier Mike Leander recording sessions) proved to be their last. With several songs still to be recorded, it was a frustrating time for all.
Paul Shurey and Guy Morley has already made alternative plans for THE NEW VIP’s and recruited Simon Smith from THE MERTON PARKAS to play drums while Paul returned to his native keyboards. With Tony Conway on guitar and Andy Godfrey on bass they became MOOD SIX.
Paul Shurey played a central part in the birth and proliferation of the Rave movement in the 80’s, 90’s and 2,000’s, initiating a great a great many DANCE RAVES all around the world. Very sadly he died in 2017. He was also a gifted artist/cartoonist, and it’s his picture which graces the album’s sleeve. He is a brother very greatly missed.
Guy Morley works in film editing and Andrew Price is involved in developing community projects in and around his native Bristol.
“We became lifelong friends and shared a great and very exciting rock and roll dream.”

Carl Craig has announced Detroit native and hotlytipped selector DJ Holographic is next in-line for his prestigious 'Detroit Love' mix compilation series dropping on Planet E Communications. Following in the footsteps of predecessors like Stacey Pullen and Wajeed, being invited to mix vol.05 of the series is testament to DJ Holographic being one of Detroit's most anticipated breakthrough DJ's. Born and raised in the Motor City's deep musical legacy, Ariel Corley aka DJ Holographic is an ambassador for Detroit through and through. Having cut her teeth as a DJ in the local scene over the past decade DJ Holographic is admired for her versatility, eclecticism, and impeccable taste. Ariel has firmly established herself as a staple of Detroit's modern underground scene, a core member of the city's LGBQT+ community and a devoted activist for local humanitarian causes - love for Detroit underpins every element of Ariel Corley's life. Released 16th April via Planet E and K7!, Detroit Love Vol. 05 is packed to the brim with exclusive tracks handpicked by DJ Holographic who takes the listener through a vibrant and flawlessly-mixed showcase of breakthrough artists, ones to watch, and longestablished artists Ariel has a personal affiliation to. The mix was curated by DJ Holographic at the artist creative hub below Submerge Records in Detroit - home to labels such as Underground Resistance, Transmat, Red Planet, and Distorted Soul.

Lothian Buses’ is an EP of genre collisions with Proc Fiskal amalgamating his twinkling, caffeinated grime sound with the rhythms and sounds of other genres, without ever overthinking it. To kick off, ‘Thurs Jung Yout’ is a kind of shoegaze drill with strings and gentle tones swelling and dissipating against busy drill beats. ‘Baguettes’ is a more classic Proc sound, a galloping rhythm against a sparse melody that was a quick fix up for a show that turned out well. ‘Choco Frito (Calamari)’ was influenced by the good life, DJing in Portugal in the sunshine and hearing Kuduro played out. The latticing drum patterns nod to the style, dropping into a sunny accordion chorus with a plucked guitar line. ‘Scarab Aloph’ is Proc's style compressed, full of micro-glitches, tight drum fills and incidental drop-outs across a pretty melody, while ‘HopeTak2’ is his percussive, breezy take on funky house with smiley melodic stabs. Finally, ‘Mullit Madollock’ takes the sonics of airy Bukem-style atmospheric jungle, an instantly recognisable inspiration that's not been as foregrounded in Proc’s work before, refitted and updated with grime-inspired melodic bass kicks.

“This is the time. And this is the record of the time.”

Laurie Anderson’s 1982 debut album, Big Science, will return to vinyl for the first time in 30 years with a new red vinyl edition on Nonesuch Records. The release includes the re-mastered original album first released on CD for the 25thanniversary in 2007.

In the early 1980s, Laurie Anderson was already respected as a conceptual artist and composer, adept at employing gear both high-tech and homemade in her often violin-based pieces, and she was a familiar figure in the cross-pollinating, Lower Manhattan music-visual art-performance circles from which Philip Glass and David Byrne also emerged. While working on her now-legendary seven-hour performance art/theater piece United States, Part I–IV, she cut the spare ‘O Superman (For Massenet)’, an electronic-age update of 19th century French operatic composer Jules Massenet’s aria ‘O Souverain’, for the tiny New York City indie label 110 Records. In the UK, DJ John Peel picked up a copy of this very limited-edition 33⅓ RPM 7” and spun the eight-minute-plus track on BBC Radio 1. The exposure resulted in an unlikely #2 hit, lots of attention in the press, and a worldwide deal with Warner Bros. Records.

’Cause when love is gone, there's always justice.
And when justice is gone, there's always force.
And when force is gone, there's always Mom. Hi Mom!

At the time of its original release, the NME wrote of Big Science, ‘There’s a dream-like, subconscious quality about her songs which helps them work at deeper, secret levels of the psyche.’ With instrumentation ranging from tape loops to found sounds to bag pipes, Big Science anticipated the tech-savvy beats, anything-goes instrumentation and sample-based nature of much contemporary electronic and dance music. On the album’s 25th anniversary, Uncut noted, ‘The broader themes of alienation and disconnection still resonate, while Anderson’s use of loops and traditional/synthesized instrumentation is prescient.’

“In the ’70s I travelled a lot,” Anderson recounts. “I worked on a tobacco farm in Kentucky, hitchhiked to the North Pole, lived in a yurt in Chiapas, and worked on a media commune. I had my own romantic vision of the road. My plan was to make a portrait of the country. Big Science, the first part of the puzzle, eventually became part two of United States I–IV (Transportation, Politics, Money, Love). My goal was to be not just the narrator but also the outsider, the stranger. Although I wasfascinated by the United States, this portrait was also about how the country looked from a distance. I was performing a lot in Europe, where American culture was simultaneously booed and cheered. But the portrait was also a picture of a culture inventing a digital world and learning to live in it. Big Science was about technology, size, industrialization,shifting attitudes toward authority, and individuality. It was sometimes alarmist, picturing the country as a burning building, a plane crash. Alongside the techno was the apocalyptic. The absurd. The everyday. It was also a series of short stories about odd characters – hatcheck clerks and pilots, preachers, drifters and strangers. There was something about Massenet’s aria ‘O Souverain’ – which inspired ‘O Superman’ – that almost stopped my heart. The pauses, the melody. “O souverain, ô juge, ô père” (O Lord, o judge, o father). A prayer about empire, ambition, and loss.”

Laurie Anderson is one of America's most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for over 40 years. Anderson released her first album with Nonesuch Records in 2001, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), Homeland (2010), the soundtrack to Anderson’s acclaimed film Heart of a Dog (2015), and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Additionally, Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date.

Perth’s DJ/producer Charlie Bucket drops his second EP "One Life". It is a melting pot of sounds and Influences featuring guest appearances from all over the globe such as SLIMKID3 (The Pharcyde), Detroit natives Guilty Simpson and Boog Brown, UK Hip Hop artist TY, Raashan Ahmad (Crown City Rockers), Ghanian MC Blitz The Ambassador and Australia’s own NFA Jones.

Fusing together the sounds of Afrobeat, Samba, Jazz, Soul and Funk music "One Life" presents a more organic approach to Hip Hop.

Orions Belte: «Villa Amorini» Jansen Records 2021 Do you remember the time the doorman ran after some drunken kids around the lake outside the club? As he dives into the lake, he scrapes his stomach on a sharp object in the water, but catches up and returns with one youth under each arm. At the same time the singer from the band playing inside, jumps from the loft hoping that the chandelier he grabs will hold him. It doesn’t. Endless afterparties and constantly trying to avoid visits from the police or the liquor control. Still nothing? This was the 90’s club scene in Bergen, and Villa Amorini was the place where everything happened. Starting as an 80’s fine dining spot, it evolved into an extravagant club with tons of artists and DJ’s in screaming shirts and oversized sunglasses. This sets the scene for Orions Belte’s second album. Still a mix of all the sounds they like, reminiscing eras they haven’t experienced, trying to navigate in their own musical atmosphere. Chaotic and calm at the same time. Villa Amorini is recorded at Norsk Riksstudio by engineer Njål Paulsberg, making sure the sounds were on point while leaving the band alone to play together for hours upon hours, chiseling out the base for the album. Where the debut was summery and a bit brighter, this album tends to lean a bit more towards the big city, night life and leftover food from the fridge. Mixed as always by the magnificent Matias Tellez.

The Black Bones story is born out of a shared obsession for crate digging, collecting, and the playing of weird and wonderful music. Their releases so far have manifested in a highly-sought series of seven psychedelic disco 12"s - picking up numerous Record of the Week plaudits on the way. This considered curation and skill for pulling together far-flung sounds fully informs their first original material. These four bold and adventurous club cuts are a thrilling mix of straight-up house sounds, new beat, industrial, dub, sleaze and all the other good shit that comes with low-lighting and a heavy sound system. Kicking off with the full throttle 120 bpm of 'ABTS' - the duo take you straight to the 'floor with one of the wildest rides we've heard in some time. 'Denied' pulls us in to darker territory - chest pummelling bass, ominous high-pitched warnings and a chuggy acid throw-down finding us once again lost in that 5am dance floor fog. Over on the flip and 'Punghi' combines a hypnotic groove, dubbed out FX, percussion and a tripped-out Eastern breakdown. One for the more adventurous DJs and dance floor! The EP is closed by 'Gabi' which sounds like minimal gone maximal with an insane industrial switch-up. Enough words! As always, Black Bones let the music do the talking and this ambitious debut can quickly find itself shelved alongside the records that have fuelled their lifelong obsession.

Prince Far I was a Jamaican reggae DJ and producer, and a well-known member of the Rastafarian movement. Known for his distinctive voice. Far frequently used his music to criticise the Jamaican government. On his ninth album Jamaican Heroes, he collaborated with musicians like Roots Radics and The Flying Lizards. The album was mixed by Anthony “Crucial Bunny” Graham at Studio One in Jamaica. Each song has something special, and revolves around topics that were close to Prince Far‘s heart. That makes this record a must have for everyone who is interested in reggae music and Rastafarian culture. It’s available as a very limited edition of 750 copies on orange vinyl.

Re-issue of a soul masterpiece from 1974, 'I Love You More and More' by Tom Brock was Tom's only solo album release, but what a beautiful classic it is. For some, it is up there in the pantheon alongside their all-time treasured soul favourites such as Marvin Gaye's 'What's Going On'.

Produced by the legend Barry White and released on 20th Century Records in 1974, it features the lush hallmark orchestration, heartfelt songs, and funky yet slick playing you’d expect from a White production. Like a dusting of sugar onto the top of the cake, the record also features the stunning arrangements of the great pianist, arranger, composer, and producer Gene Page, whose musical career left an impressive and prolific legacy.

'I Love You More and More' received another lease of life when it was resurrected for a new audience after having been sampled by Jay-Z, Mos Def, C.L. Smooth, and others. The record is solid throughout, but the song 'There's Nothing in This World That Can Stop Me From Loving You’ proved to be an extra-bright star in the sky and it formed the base to Jay-Z's 2001 hit 'Girls, Girls, Girls'. The sampling of Tom’s work triggered the collectors, diggers and DJs to explore his record and to transfer their passion for it onto their followers too.

Tom Brock passed away in 2002, but left behind his sensational soulful voice on a handful of amazing dusty 7" singles, several assorted productions recorded by other artists, and this absolute winner of an album, which will be cherished for years to come.

• Half-speed vinyl cut at Abbey Road Studios

• Sampled by Jay-Z, Mos Def, C.L. Smooth…

• Produced by Barry White, arranged by Gene Page.

"Lifetime" ist die lebensbejahende Debüt-Single von Romy. Romy, den meisten bekannt als Romy Madley Croft und Teil von The xx, hat den Song während des Lockdowns in ihrer Heimat London geschrieben und zusammen mit dem britischen Erfolgsproduzent Fred again produziert. Die Auszeit von ihrer Band hatte Romy zuvor genutzt, als DJ durchzustarten oder Kollegen beim Songwriting zu unterstützen, so schrieb sie u.a. am Grammy prämierten Dua Lipa-Song "Electricity" mit. "Lifetime" ist eine Hymne auf das Leben und von dem Traum endlich wieder mit Freunden, Familie und geliebten Menschen vereint zu sein. Es ist Romys erste Veröffentlichung seit dem letzten The xx Album "I See You", welches in Deutschland Platz #1 der Album-Charts. Logisch, dass der Song im Original auch gute Airplayergebnisse verzeichnen konnte und in diversen Jahresbestenlisten auftauchte. Im Laufe des Herbstes erschienen dann verschiedene Remixe von befreundeten Künstlerinnen, die nun auf 12" verewigt werden. Tracklist: 1. Lifetime Jayda G Baleen Mix 2. Lifetime Planningtorock "Let It Happen" Remix 3. Lifetime HAAI's Green Lamborghini Romix 4. Lifetime Anz's Togetherness Remix 5. Lifetime.

*Repress*


The iconic album series Back to Mine returns in 2019, to mark it's 20th anniversary, with the indomitable Nightmares on Wax, to share his personal collection of music for after hours grooving. The series was renowned for its eclectic selection and selectors which includes some of the biggest names in electronic and pop music, from the likes of Faithless to Pet Shop Boys, Groove Armada to New Order.

Building on Back To Mine's heritage for quality this edition comes as limited edition heavyweight vinyl and extra thick cardboard sleeve with full coloured bespoke artwork, commissioned from illustrator Rich Fairhead, depicting the artist's influences along side personal sleeve notes form Nightmares On Wax.

The collection includes three exclusive tracks, one new track from Nightmares on Wax, along with a remix from the man himself of seminal band Fat Freddy's Drop and brand new project Creative Principle. The album is impeccably mixed and blended, as you'd expect from a DJ and collector of George's pedigree. His selection includes a strong representation from his roots in Northern England. Opening with respected Manchester soul duo Children of Zeus, Hull's Steve Cobby provides his own 'Lefthanded Books' featuring Crazy P's Danielle Moore and also introduces his chuggy-disco project Chieftain. There's also room for the recent Nightmares on Wax recent single 'Look Up'. Moving internationally; there's Greek producer Dim Zach who doffs a cap to Imagination on the synth-heavy 'Innocence', US-born/Colombian based Afro/Latin/disco/funk producer Bosq, Italy's Massimo Vanoni with the slo-mo funk 'Exciting Groove', the deep and jazzy 'Gotta Have It' by Berlin's SoulPhiction side project SBM and two tracks by New Zealander Ladi6.

This first re-instalment of Back to Mine is a triumphant return for the iconic and music loved series. Nightmares on Wax delivers an incredible selection of tracks that gives the listener a real insight into the artists personal and extensive taste. To coincide with the series release, Nightmares on Wax will embark on extensive Back to Mine worldwide DJ tour which sees the producer touch down in various cities across Europe and USA, including six dates in the UK.

'I always hoped that when the time was right I would be asked to do a Back To Mine release and so when the call came there was absolutely no hesitation'. - Nightmares on Wax.

In the late ‘80s, a wave of British musicians raised on ‘70s UK pop, Caribbean sound system culture, reggae, lovers rock and Motown/Philly soul music fell in love with synthesisers, drum machines and 8-track recorders. The street soul generation had arrived.

Originally released as a white label 12” in 1989, ‘You’ve Gone’ is the sole release from Bassline, the studio project of Southeast London-raised musician Tony Henry, not to be confused with Tony Henry from Manchester jazz-funk/R&B band 52nd Street. Featuring the singer Lorraine Chambers, it’s one of the true jewels of the UK Street Soul scene. As Lorraine’s heartsick soul vocal glides over sunrise synths, dusty drums, elegant electric piano figures and a reggae indebted bassline, ‘You’ve Gone’ captures the optimism and strength of the era perfectly.

‘You’ve Gone’ was championed by Choice FM UK (now Capital XTRA), Kiss FM, and DJ Trevor Nelson. Tony went from selling white labels out the trunk to booking in Live PAs for Lorraine with London sound systems like Rampage and up north in the street soul loving cities of Manchester and Birmingham. “When Lorraine did PAs up there, she went out on stage like she was Beyoncé.”

The son of a Jamaican father and an English mother, Tony grew up around the London sound system scene. He taught himself bass guitar, keyboards, and production, before playing in the reggae band Chakwanza (Swahili for “the first”). In Chakwanza, Tony rubbed shoulders with Aswad, Barry Boom, Steel Pulse, Maxi Priest, Gregory Issacs, Dennis Brown, Ghettotone and Saxon Sound, before focusing on a career in banking over music. “Music was my first love, but it couldn’t have afforded me the sort of level of - let’s be blunt and pragmatic about it - financial success that would have allowed me to support my family.”

Outside of office hours, Tony continued to work on music at home, sometimes serving as a session bassist with local bands. In the late 80s, a work colleague mentioned her sister Lorraine Chambers was a singer. Tony and Lorraine recorded “You’ve Gone” over two sessions. “Lorraine went into the booth, put her headphones on and got into the song. My daughter turned to me and said, ‘Daddy, she can really sing!’”

Despite the success of ‘You’ve Gone’, they never recorded together again. “The world changed, and for me, it changed as well. My younger kids were born, and work started getting more intense. I got a bit more successful and was living a mad, kind of crazy life.”

Thirty-two years on, ‘You’ve Gone’ finally receives an official reissue comprising the lauded original mix, an alternate version and Tony’s Back to Bass-ics remix. Fittingly, in recent months, Tony and Lorraine have re-connected in the studio writing new material.

Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.
Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the
record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.
Working with AI tech collective Birds on Mars and former Soundcloud
programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech
instrument they could control and play as they would a synthesizer.
The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date. Original artwork by Casey Reas, inventor of the computer graphics language Processing.
Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.
Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.
‘AAI’ is available on grey or black double LP packaged in a single sleeve with full colour insert / lyrics. CD comes with 8-panel poster booklet.
“Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live musicianship, and sometimes between Earth and outer space.” - AV Club
“Enthralling and impossible to categorize.” - Pitchfork
“Sustained and ephemeral electronic sounds conjure unearthly open spaces… It’s not a song; it’s sound as a temporal phenomenon, a few minutes of sculpted attention.” - The New York Times

Rebuke returns to Drumcode with a trio of timeless dancefloor weapons.
The Irishman’s ‘Rattle’ was a standout of 2019, judged by DJ Mag as their no.22 top track of the year and is etched in the Drumcode discography as one of the most original releases to date. A valued part of Adam Beyer’s extended collective; he would have made his Drumcode event debut at WMC in Miami this March. Without a doubt, a sophomore EP was always on the cards.

‘Instatik’ kicks the work into gear, a rugged, reverb-heavy cut with industrial drums that pump like pistons and an undulating synth effect that makes you feel like you’re on a turbo-charged rollercoaster. ‘Livewire’ has the trademark Rebuke brain-scrambling stamp on it, a flurry of steelyard percussion bring the track to life, before a low-end melody swells to attention, rubbing shoulders deliciously with driving drumlines, for an uplifting second half. The title track ‘Obscurity’ is a dark slice of techno funk, filled with synapse-tickling arpeggios, before a rollicking groove takes hold and launches the track home at full-flight. Another thrilling and innovative release to add to the Rebuke canon.

“I think 2020 will go down in history as the craziest year of our lifetime. The future is still pretty unknown right now and things are drastically changing week to week. With that in mind, I felt ‘Obscurity’ would be a fitting title for my second Drumcode EP. It represents the state of being unknown, unclear or difficult to understand – feelings I’m sure most of us are going through right now. Most the tracks aside from ‘Livewire’ were written in quarantine; ‘Livewire’ was written right before the virus shut the world down, in a hotel room in Lima, Peru in January. This EP is my favourite to date as I think it shows a different side to my musical palette, whilst still developing the signature sound heard in all my music.” – Rebuke

Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.
Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the
record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.
Working with AI tech collective Birds on Mars and former Soundcloud
programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech
instrument they could control and play as they would a synthesizer.
The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date. Original artwork by Casey Reas, inventor of the computer graphics language Processing.
Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.
Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.
‘AAI’ is available on grey or black double LP packaged in a single sleeve with full colour insert / lyrics. CD comes with 8-panel poster booklet.
“Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live musicianship, and sometimes between Earth and outer space.” - AV Club
“Enthralling and impossible to categorize.” - Pitchfork
“Sustained and ephemeral electronic sounds conjure unearthly open spaces… It’s not a song; it’s sound as a temporal phenomenon, a few minutes of sculpted attention.” - The New York Times

Horace Andy's voice is an instrument that once heard is never forgotten, regardless of whether you first hear it on one of the numerous Jamaican reggae singles that he recorded during the 70s or - like most people - on one of the Massive Attack albums he collaborated on as a vocalist. His falsetto and his characteristic slow-motion vibrato breathed life into tracks like "Spying Glass", "Cuss Cuss", "In The Light", "Skylarking" or "(You are My) Angel", ensuring that they still continue to resonate deeply with listeners. His vocal style influenced countless root singers and the combination of his timbre with Massive Attack's spartan hip hop beats still inspires legions of fans and copyists all over the world. Echo Beach has now picked up on this tradition - and the much older tradition of versioning - by asking friends of the label to rework Horace Andy's classic tracks in their own sound outfit. But this time the label hasn't trawled old Studio One tapes for historic vocal snippets - that would sooo nineties; no, Horace Andy personally put in an appearance to sing new versions of his classic tracks on top of timeless and contemporary riddims. Age may have deepened his voice, but it is by no means weaker, as can be heard on this album, on which Echo Beach welcomes old friends and new faces: there's Rob Smith, who as part of More Rockers and Smith & Mighty was just as crucial for Bristol's musical reputation as Massive Attack or DJ Krust & Roni Size. Today, he ensures continuity by working under the label and producer name.

Montreal-based producer & DJ Slick Shoota brings us Function, his debut LP and first solo release on the Teklife imprint. A native of Norway known for his renowned Oslo club night Ball Em Up, he's been a member of the elite crew since 2015, contributing tracks to the label's compilations such as On Life Vol. 2 and VIP Trax. Using a unique palate that combines both traditional footwork drums and eclectic otherworld sonics, this album expands on the signature sound he's been brewing during the course of his career, celebrating his longtime love of the Chicago soundscape, with a healthy helping of UK rave, jungle, and vibes from other fast paced club realms. Slick starts the record off with Hovercraft, a big burly mutant rap beat riding a glowing titanic wave of jungle subbass, with vicious hi-hats stabbing through the mix. Desire Path follows with hysterical horns cruising along a stampede of erratic Chicago percussion. A glitchy, malfunctioning computer meets drumline stomps on See Me Flex, resulting in a psychotic, yet psychedelic sci-fi soundscape. Ultra-distorted hardcore kicks open up Jellyneck, dropping straight into a dungeon of ghostly vocals and headlong toms. Warehouse 2K opens up the B-side with R&B chops and lasers floating on a charming cloud of pulsating pads. Mad doppler sirens loop around your head on Delahaze, as distant clangs and crashes fight an impatient, throbbing bassline. Classic rave atmospheres are met with Slick's elegant sound design on MTL Hardcore, his ode to his adoptive city. The album closes off with Special Tek, channeling the signature quirky drum sounds of the late DJ Rashad over a pounding, fast paced house beat, a wonderful nod to the Windy City and its influential sonic culture. Carving out his own sound from the legacies of Chicago, the UK, and other underground club hotspots, Slick Shoota has found his own recognizable voice within these realms of dance music, and this LP serves as documentation of that solidified voice. Years of studying the masters and immersing himself with their work has clearly paid off, and he's respectfully taking these sounds he loves in exciting new directions. Bridging gaps both historical and geographical, Function marks a pivotal point in his career, and is clear evidence that Slick Shoota is vital member of the legendary Teklife family.

Running Circle presents China-born DJ and producer Guohan, with his debut LP Lost Sound Book.
The 16 track publication charters an otherworldly inward journey, with influences ranging from ancestral rock carvings to bustling city streets, mythical tales to sunrise and sunset. Guohan draws from many places and cultures, hiphop and jazz, traditional music and everyday life, documenting the moods and colours left out from today’s society.
The fractured rhythms and harmonies on Lost Sound Book feel like a reconstruction of memories and missing links.

"Awaken the Legacy" is the first EP to be released in early September 2020 on the Berlin Techno Label INHERIT. The four-track release spotlights two original tracks from the founders of INHERIT Daniel Heinrich & Disguised as well as two remixes by MORBECK & YA.

The original tracks "Awaken the Legacy" & "Power" perfectly demonstrate why Daniel Heinrich & Disguised decided to take their collaboration to the next level and to found INHERIT at the beginning of 2020. The sound of both original tracks is straightforward and shakes your body to a melodic mix of trance tunes combined with hard drum sessions.

MORBECK from Berlin, founder of "Code is Law" & "Low Life Club" brings with his first and unique driving remix a death melody interpretation of "Power" to the EP. The re-mix stands out with a playful and forward-driving rhythm and can be called the most danceable track on the EP.

YA from Paris, founder of Mainmise Records and Pulse perfectly completes the first release with his remix of "Awaken the Legacy'. His typical YA sound, as well as the mix of trance & hard techno elements, energizes you and lifts off the track to a different level. No time to rest, this remix should be part of every driving DJ set.

Plump is fat positive, sex positive, queer positive, feminist and anti racist with a focus on centering underrepresented and marginalized voices. Think feminist Ghetto Tech, uplifting while militant, raw and empowering. A place of refuge for everyone who has ever felt unseen or excluded no matter gender, colour or creed.

Plump is about an attitude and ethos, more than it is attached to a genre specific sound. Plump is about radical acceptance. Plump is a return to the origins of dance music as a space for people from all walks of life to be able to come together, embrace joy, pleasure and be free to truly be themselves.

Plump is a creative partnership and collaboration between Kevin Knapp and Jessica “Hutch” Hutcheson, AKA Hutchtastic. Hutch is a visual artist, vocalist, Detroit native, burgeoning producer and overall performer and art personality. Kevin Knapp is music producer, DJ and vocalist, with a slew of releases on formidable labels in the dance music industry.

Kevin also has a new streaming show on Dirtybird Live called Plump’d. The Plump’d livestream show originates from Berlin and is created by Kevin & Hutch.

Kevin says
"Plump'd is an opportunity I've been gifted in the wake of the world shutting down due to the pandemic. Life is funny that way when life closes some doors it opens others. I've been given the opportunity to host a show every Saturday night during the prime time slot, on Dirtybird's Twitch channel for Dirtybird Live. Each week my hope is to have artists I respect, revere, and consider a friend to come on and play some music with me, just for the love of the music. The show is named after our new record label and carries with it the label's ethos of going back to the roots of dance music as a place of radical acceptance."

In the 2000’s Chee Shimizu helmed an untouchable Tokyo DJ collective called Discossession alongside Dr Nishimura (House music buyer for Cisco Records at the time). Balancing out this unit were a young Scotsman-abroad named Jonny Nash (who’d later form Sombrero Galaxy ESP001 and Gaussian Curve as well as the Melody As Truth imprint), and the late guitar virtuoso and tattoo artist Zecky. Formidable DJs and multi-talents on the Tokyo scene, Discossession released two EPs on Kenji Takimi’s Crue-L imprint and various mixes individually on lovefingers, all holding well-deserved eternal cult status. Chee’s Denshi Meisou 2006 and Follow My Dream 2007 for Lovefingers as well as his legendary “listening sessions” at HiFi lounge SHeLTeR in the Tokyo suburb of Hachioji, laid foundation for what would become known to his followers as “Organic Music” or “Obscure Sound”, the former extending as the name of his record shop and the latter as the title of his 2013 book.

Obscure Sound chronicled his tastes in detail and has since become a sort of diggers bible for peers and younger generations. At the ESP Institute’s inception in 2009, Shimizu contributed two tracks to Lovefingers’ Concentration Vol 1 compilation as apéritifs to a later release. “Later” eventually became “forever” and the mythical piano track (appearing only as a demo on Golden Age and Dekmantel 061) is still, to this day, not ready for formal release. Skip a dozen years, musical interests and major life changes, and Chee has now unveiled something quite special in accordance with his Obscure Sound—rather than making new out of old rope, he presents a collaboration with Tokyo guitarist miku-mari a.k.a. Takahiro Matsumura. The artists frequently collaborate at the experimental audio/visual event, Sacrifice, held irregularly at Tokyo’s ForestLimit, and in 2018 when Chee was invited to DJ at Japan’s only Ambient festival Camp Off-Tone, he and miku-mari endeavored to expand these works into a 2-hour improvised performance. Chee collaged various percussion samples and personal field recordings utilizing four CDJs, supplementing with live windchimes and Andean chajchas, while miku-mari coupled a guitar-controlled synthesizer, Sound Tube software (developed by Japanese Ambient composer Hiroshi Yoshimura) and more live elements such as Tibetan bells and pyramid crystals. Rehearsals for this performance were held prior to the festival at ForestLimit, recorded as multi-tracks and edited into these two cerebral Reconstructions.

Nahawa Doumbia's new album Kanawa concisely captures this current moment in Malian history. The singer, whose storied career spans more than four decades, reflects on the immigration crisis from the Malian perspective in the title of her new album Kanawa. Across eight songs recorded in Bamako with a band including traditional and modern instruments, Doumbia merges her early work that relied on a spare expression of her trademark didadi rhythm with the bombastic range of contemporary Malian pop. The beautifully complex musical accompaniment that results is courtesy of the large ensemble she pulled together with producer and arranger (and day one collaborator) N'gou Bagayoko. The band features two highly expressive Malian string instruments, the ngoni and the slightly smaller kamalé ngoni, as well as a variety of percussion, drum programming, karignan (a metal scraper) and acoustic and electric guitars. Doumbia's daughter, a celebrated singer with her own group and busy concert schedule, Doussou Bagayoko sings on "Adjorobena," a song about patience, tolerance and living in peace. Doumbia weaves together a roadmap of her psyche when it comes to the good and bad life has to offer. She talks about marriage and women leaving home to join another through the metaphor of a tree in the garden; she includes gunshot samples in the song "Foliwilen" to honor the bravery of hunters, soldiers and other courageous people; she uses a bird in "Djougoh" to talk about lazy people; and, in "Ndiagneko" she advises people to ignore critics, just do you. Mali has gone through an intense period of regional strife and terrorist incidents over the last ten years and Doumbia roots the album in tragic local concerns with deep global implications. "The meaning of Kanawa is so simple. We see our children trying to cross the ocean all the time. I said that many of our children die in the ocean and some of them die while crossing the Sahara. But I ask them why do they leave their country? They said that they leave because of the family situation or problems like poverty and unemployment. I ask them to stay and work in their country. I call on the UN and African leaders so that we can coordinate our efforts to find a solution, to create jobs for them so that young people stop leaving. That's why I chose it as the title of my album so that everybody can learn from it and also so that there is a reduction in the number of people emigrating. So that some will hear the message and stay home and grow the land. Leaving is not the only solution. My message is to help the youth find jobs."

Nach Crazy Rhythms Of Mata Hari, Shake Your Bones, dem Cool Cat Club und Born To Hula! Folgt nun der 5. Teil der DJ-Set Serie auf Stag-O-Lee. Wie auch bei den Vorgängern handelt es sich hier um einen auf 80 Minuten eingedampftes DJ-Set von einem verdienten Recken der Zunft - Keb Darge. Gaz Mayall folgt direkt mit Volume 6. Linernotes: Rockabilly didn't cross my world until the early nineteen eighties at a Dirtbox weekender in Bournemouth, until then I was a pure northern soul boy. I didn't really get stuck into collecting the stuff until a decade later, but when I did what a wonderful world of tunes opened up to me, and I went wild on it. I was very lucky to be doing a record stall in Camden market at the time just across from Boz Boorer and Neil Scott's stall. They along with other serious collectors Dave Vickers, Barney Koumis, Cosmic Keith, Jim Fox, Dave Crozier, and many others taught me all I needed to know. I only ever made one great rockabilly discovery which none of them knew, "Little Bit Lonesome" by Charles Ross, but I was happy enough buying all their recommendations as they were all new and exciting for me. I have done several rockabilly comps before, but sadly the Philippines typhoon in 2013 destroyed my village and forced me to sell the bulk of my collection. Here are some of my favourites that I never got round to putting out before that happened. Two of the aforementioned collectors are no longer with us. I therefore dedicate this comp to Dave Vickers and Cosmic Keith who both had a huge influence on my life and my musical taste.

Wretched Cuts is the new solo EP by gender-nonconforming techno artist, Projekt Gestalten. The release comes via the New York’s Mild Fantasy imprint run by DJ Elle Dee and features three original themes focusing on introspective techno plus a remix by veteran, The Lady Machine.

The project reflects an array of themes using as the starting point the story of Estamira and the Brazilian documentary of the same name, telling her life story. Estamira was an incredibly enlightened older woman who scattered one of the largest landfills of Rio de Janeiro for food. Not because she had to, but because she loved that place as she loved “her own children” and enjoyed making a living out of other people’s disposable goods. Simultaneously, while dealing with schizophrenia and abuse, she believed she was a superior spiritual being whose magical powers could control time, space, and other elements of nature.

The tracks are inspired by some of her most memorable quotes and moments that made an impact on Projekt Gestalten. “Wise People In Reverse” goes into a darker approach and samples Estamira’s voice talking in a mysterious unknown language with an unrevealed force, using only a broken piece of a telephone that she had just found it in the trash. “Morte Macaca” takes a rhythmic approach towards dub techno, and “Holographic Principle” gets trippier and hallucinogenic with Projekt Gestalten’s signature acid lines. The Lady Machine’s “Wise People In Reverse” remix takes the original theme to a driving, peak hour approach and transforms it into an effective DJ tool.

“There are no more innocent people on Earth, only wise people in reverse”.

Nahawa Doumbia's new album Kanawa concisely captures this current moment in Malian history. The singer, whose storied career spans more than four decades, reflects on the immigration crisis from the Malian perspective in the title of her new album Kanawa. Across eight songs recorded in Bamako with a band including traditional and modern instruments, Doumbia merges her early work that relied on a spare expression of her trademark didadi rhythm with the bombastic range of contemporary Malian pop. The beautifully complex musical accompaniment that results is courtesy of the large ensemble she pulled together with producer and arranger (and day one collaborator) N'gou Bagayoko. The band features two highly expressive Malian string instruments, the ngoni and the slightly smaller kamalé ngoni, as well as a variety of percussion, drum programming, karignan (a metal scraper) and acoustic and electric guitars. Doumbia's daughter, a celebrated singer with her own group and busy concert schedule, Doussou Bagayoko sings on "Adjorobena," a song about patience, tolerance and living in peace. Doumbia weaves together a roadmap of her psyche when it comes to the good and bad life has to offer. She talks about marriage and women leaving home to join another through the metaphor of a tree in the garden; she includes gunshot samples in the song "Foliwilen" to honor the bravery of hunters, soldiers and other courageous people; she uses a bird in "Djougoh" to talk about lazy people; and, in "Ndiagneko" she advises people to ignore critics, just do you. Mali has gone through an intense period of regional strife and terrorist incidents over the last ten years and Doumbia roots the album in tragic local concerns with deep global implications. "The meaning of Kanawa is so simple. We see our children trying to cross the ocean all the time. I said that many of our children die in the ocean and some of them die while crossing the Sahara. But I ask them why do they leave their country? They said that they leave because of the family situation or problems like poverty and unemployment. I ask them to stay and work in their country. I call on the UN and African leaders so that we can coordinate our efforts to find a solution, to create jobs for them so that young people stop leaving. That's why I chose it as the title of my album so that everybody can learn from it and also so that there is a reduction in the number of people emigrating. So that some will hear the message and stay home and grow the land. Leaving is not the only solution. My message is to help the youth find jobs."

To commemorate the 5 years of the disappearance of the true music Genius DAVID BOWIE, the jazz scene pays tribute to the legendary artist Including: Keren Ann • The Puppini Sisters • Mike Garson • Bojan Z • Delta Saxophone Quartet Jen Chapen & Rosetta Trio • Caecilie Norby • Franck Wolf •Yelloworld • Eric Le Lann...
Section of the Tracklisting was made by Jazz Magazine’s journalist Lionel Eskenazi

“If you have a vacancy for Favourite New Band, Pom Poko would like to apply for the role,” tweeted Tim Burgess in April, as Norway’s finest punkpop anti-conformists revisited their joyous debut album, ‘Birthday’, for one of Tim’s mood-lifting Twitter listening parties. Pom Poko pimp their CV on all fronts with their glorious second album, ‘Cheater’. Between the quartet’s sweet melodies, galvanic punky ructions and wild-at-art-rock eruptions, ‘Cheater’ is the sound of a band celebrating the binding extremes that make them so uniquely qualified to thrill: and, like Tim’s listening party, to fulfil any need you might have for a pick-you-up.

As singer Ragnhild Fangel explains of the leap from ‘Birthday’ to ‘Cheater’, “I think it’s very accurate to say that we wanted to embrace our extremes a bit more. In the production process I think we aimed more for some sort of contrast between the meticulously written and arranged songs and a more chaotic execution and recording, but also let ourselves explore the less frantic parts of the Pom Poko universe. I think both in the more extreme and painful way, and in the sweet and lovely way, this album is kind of amplified.”

The sound of four distinct personalities driving in divergent directions towards one destination, the result is an evolved snapshot of the bracingly contrary chemistry forged when Fangel, Tonne, Jonas Krøvel (bass) and Ola Djupvik (drums) united to play punk during a jazz gig at a literature festival in Trondheim (the band-members studied jazz there).

Along the way, the band drew praise from NME, Interview Magazine, DIY, PopMatters, The Line Of Best Fit, The Independent and BBC Radio 6, where Miranda Sawyer was moved to note that “‘Birthday’s ‘Crazy Energy Night’ seems to contain about 20 songs in one.” Meanwhile, a huge touring schedule included countless sold-out headline shows and a rapturously received UK jaunt with Ezra Furman.

‘Cheater’ does its predecessor proud on every front. Bursting with colour and wonky life from its cover art (by close collaborator Erlend Peder Kvam) outwards, it differs from ‘Birthday’ primarily in that its songs did not have a chance to be road-tested before going into the studio. But you wouldn’t know it. As Ragnhild explains, “That meant we had to practice the songs in a more serious way, but it also meant the songs had more potential to change when we recorded them since we didn’t have such a clear image of what each song should/could be as the last time.”

140g clear vinyl LP with PVC printed outer sleeve and digital download code.

Stephan Bazbaz heads to LOCUS to deliver his Voyage EP, backed by a remix Casey Spillman.

An artist at the heart of Tel Aviv’s blossoming house and techno scene, Stephan Bazbaz continues to showcase his skills as one of the city’s leading lights within electronic music. With releases and remixes via the likes of Djebali, hedZup and INFUSE in 2020 alone, he now closes out a fruitful twelve months with an impressive label debut via FUSE imprint LOCUS to deliver three fresh cuts in the form of his ‘Voyage EP’ – whilst INFUSE regular and LOCUS alumni Casey Spillman makes a swift return to step up on remix duties.

A low-slung and moody effort from the off, opening cut ‘300’ combines swinging percussion and icy hats whilst escalating synths and rumbling sub-bass take hold and transport the production firmly into the peak hours – unsurprisingly featuring as a stand-out track within Enzo’s sets over the past 12 months. Next up, ‘Key To Success’ offers up a groove-heavy roller, with tracky drums guiding off-kilter samples and rich piano flourishes throughout, whilst Casey Spillman’s interpretation ups the energy levels as he works punchy kicks, warping synths and menacing low-end tones to turn in a bustling remix. To close, ‘The Life’ showcases yet another side of Bazbaz’s vast production skills, opting for hazy synths and dreamy chords to round out proceedings in impressive fashion.

In today's age we get mindful of life and love. The now rare nights of the true hedonist. A hero who's not afraid of the consequences. Who is ready to live that full life. To push the mind and senses of joy. No rules. Just reality. Wildness. Nothing can be stopped. Rule that Mystery.

Biz returns with another ep of seriously smooth Detroit inspired techno and body poppin electro that take the listener on a cerebral journey while still being laced with those tough elements that work so effectively on the dancefloor. This is the fourteenth release on Biz’s own label cliq which was founded in 2002 and is a reminder that Australian techno is smokin…don’t miss this future classic!!

Support by Laurent Garnier, DJ Deep, Ben Sims, Extrawelt, Deetron, Dave Clarke, Christian Smith, Stephan Brown.

“Biz’s music is amazing….big fan” Laurent Garnier

Dj Revive gets his first vinyl release after numerous digital and CD EPs. A rapidly rising talent in the ever expanding old skool breakbeat hardcore scene, Revive has a knack for heavy, pounding beats and the sort of euphoric piano and vocal lines that remind you of Dj Force & The Evolution or other prime artists of that era. This EP doubles down hard on his previous work, while leaning further forward with meticulous production and epic soundscapes! With the full support of Kniteforce Records and a remix from head honcho Luna-C, this one comes with perfect pedigree.

This compilation sees the coming together of independent music makers from across the globe to meet in one place and gather as a single entity. That simmering hub of warmth and affection is known as Motor Jazz - a place for artists to congregate and share their devotion for songs that are infused with rhythms created by anodic wires, buttons and other digital paraphernalia. That's electronic music to you and me, and in this case electronic music with swing, a sense of freedom and improvisation that some might call 'Jazz'.

The album opens with the ominous drone of the Mega Corp., sounding like one of the parties responsible for 2020's almost post-apocalyptic feel. It's perhaps an unlikely opener for a what's a positive and optimistic collection courtesy of young musicians from across the globe, but we all need to be reminded of who's in charge sometimes, and Dutch producer Jon Sewi does just that!

The mood soon lightens though, with the soulful strings and enticing keys of Gladdics by the mysterious Black Soyls, before well established German musical artisan Renegades of Jazz brings the family in for It's Tea Time with ticking clocks, warm tea pots and slices of cake, whilst being serenaded by a very vintage sounding horn section.

Serafin Plum almost steer us into drum & bass territory with their off-the-wall percussive nugget Jagged, whilst keeping a calming hand on the shoulder (as all good parents should) with soothing keys, before it's playtime once again.

There's nothing conventional about the Motor Jazz family though, and after tea time and play time, it's time to rave! In Greek mythology, The Maenads were female followers of Dionysus; their name literally translating as "the raving ones". Often they were portrayed as being inspired by the god into a state of ecstasy through a combination of dancing and intoxication, during which time they would dress in fawn skins and carry a thyrsus - a long stick wrapped in ivy or vine leaves and tipped with a pine cone. With a sound ranging between Jazz, Techno, Rave and Breaks their track, Opera, delivers a psyche and Jazz influenced piece with colliding styles, busy drums and rich melodies.

Heading over to Dublin, Ireland, and multi-talented producer, musician and DJ, Donal Sharpson (aka Double Screen) makes his presence known with grandiose brass preempting a four-to-the-floor wood block frenzy in the shape of Sheikah, complete with enthusiastic whoops and a persuasive bassline. Meanwhile, somewhere below the Irish Sea, aquatic artiste Stubby Dials delivers the bass worrying Put It On Ice the only way he knows how - living in a submarine, he emerges from time to time to leave his master tapes on the beach with a note saying "Release this!" before submerging, never been seen again.

Back in the Netherlands, Bram van der Hoeven, otherwise known as Lucinate, is an electronic Jazz producer par excellence. His effortless balance of organic musical roots like Fusion, Bossa Nova and Soul, into the world of modern beat orientated sounds is something to behold, and with The Cards he offsets life-affirming keys with rolling drums reminiscent of some of the seminal liquid Drum & Bass he grew up with.

As the global Motor Jazz family expands, we head to Canada, where the wonderfully monikered Woodpecking Mantis brings a little acid to the party with his squelchy, stuttering and brilliantly entitled Waving At A Melting Square Tooth Of A Specific Rabbit……. We're guessing they like acid a lot in Canada.

We're going down under to Newcastle, Australia next, where things take a more serene turn. Wrenasmir, known to his parents as Craig Smith, used to be a baroque pipe organist before he discovered samplers and synthesizers. Now he makes imaginary soundtracks at his studio for the twilight beachside city that lives in his head - full of vinyl and pixels and bittersweet memories. The gorgeous Lucempight is exactly that.

Keeping things low key and tranquil, Poets And Rockets, the latest offering from Jay Solomon is a horn driven slice of futuristic dub that makes way for The Motion Orchestra's majestic Midnight Sun, complete with Alexander Bednasch on double-bass, Mark Matthes on violins, Andy Sells on drums and David Hanke on electronics and production. Though influenced heavily by neo-classical and jazz sensibilities they occupy a musical space that sits in neither sphere, with a compositional style that deftly fuses the orchestral and electronic worlds. The full Motion Orchestra album, All One, will be released later this year on Bathurst.

Sixteen year old, self taught producer and multi-instrumentalist Teis Ortved is something of a prodigy. The Copenhagen based wunderkind has so far self-released two EPs, and if What, his offering here, is anything to go by, he's going to be making big waves across the eclectic music spectrum for years to come.

If Teis is the new kid on the block then what better way to round off this compilation that with its patriarchal figure. Funki Porcini has over a quarter of a century of recordings in his back catalogue, and has spent fifteen of those years dedicated to the independent UK behemoth that is Ninja Tune records. The Last Recording From Earth is exclusive to this album and is in many ways the perfect closing song. Perhaps more concept art than traditional piece of music, the idea behind it is that an alien archeologist has found this recording tens of thousands of years after humans have disappeared into the sand…. You never know, it might just happen, and hopefully Them To Us will take on a whole new meaning.

One of the two great chapters in reggaes history was the DJ phenomenon that conquered the Sound Systems in and around Kingston town in those heady 1970's, the other was the dub plates specials that allowed the DJ's to explore a tune in the first place. Giving some fine question and answers to its original vocal, emphasising its meaning or taking it into another subject matter altogether. When you have these two styles and add to it that original vocal, dubbed in at various points you get a fantastic melting pot that lifts a tune and can take it almost anywhere it likes.

Although DJ's were operating in Jamaica in the 1950's and 1960's with the likes of Count Matchuki and Sir Lord Comic, their role was that of mainly selector with a few vocal embellishments to instrumental tracks to gee up the crowd. 1969 saw the art form broaden with the likes of DJ King Stitt (Winston Spark) who scored a couple of hits for producer Clancy Eccles with 'Fire Corner' and 'Herbsman Shuffle'. But it was Clancy Eccles next releases with a certain U Roy (Ewart Beckfort) in the same year that saw the style explode. When hearing the DJ holding the crowd’s attention on King Tubby's Home Town Hi - Fi Sound System, the producer rushed the DJ into the studio and cut 'Wake the Town' and 'Rule The Nation'. Which would top the Jamaican charts in the soon to follow 1970.

In true Jamaican musical style when a new sound hits on the radio waves, many would soon follow. With an abundance of already tried and tested hits, producers would get the new
toasters of which there were many and revamp and breathe new life into their back catalogues.

But what makes this set of cuts, chosen for this release that little bit more interesting, are the working of the dub plates and effects alongside these vocal talents. Adding another layer to this musical cake.

A fine selection of tunes worked over by the cream of the 1970's DJ circuit.U Roy, I Roy. Jah Stitch, U Brown, Dillinger, Prince Jazzbo, Dennis Alcapone and the vastly underrated Shorty the President alongside some classic King Tubby dubs surely a match made in heaven...

Hope you enjoy ride…….

The Vision returns with the third single from their eponymous debut album, along with remixes from two of the scene’s most revered producers. ‘Missing’ treads the familiar tale of love lost with a stark openness, a funk-filled track underpinned by a catchy vocal hook sure to resonate with its listeners. As one half of The Vision, this release is the first where Ben Westbeech provides vocals as well as producing behind the scenes alongside Kon, perfectly matched with regular collaborator Andreya Triana to bring the heartfelt lyrics to life. On this special 12” package, underground hero Maurice Fulton’s remix opens the A-Side, an artist described by Resident Advisor as “making some of the most unhinged house out there”, his mix may strike listeners as surprising with its stripped-back feel. With extended instrumental breaks perfect for club play, the reflective feel of Maurice’s mix aptly suits the message of the record, as elegant guitar riffs and warm synths make his remix an irresistible version. The Accapella closes out the A-Side, an essential DJ tool that allows Andreya and Ben’s flawless vocals to really shine. On the flip, the original version of ‘Missing’ opens, before Swiss DJ Deetron provides his remix, impeccably executed with bubbling synths and snapping percussion, as the Character Records boss explores the emotional potential of dancefloor-destined house to compelling effect. ‘Missing’ is no exception to The Vison’s existing discography, as meaningful messaging is paired with flawless execution to produce a record with all the makings of a future classic.

We are very pleased to finally present you a new Lorenz Rhode release, for the „Sandpaper EP“ Lorenz Rhode and Jamie Lidell get together again. Their first collab „Any Kind of Pressure“ was followed by Lorenz joining Jamie’s world tour and a remix of „Big Love“ for Warp Records. Jamie performs with an amazing energy, and his
soulful voice is carried by a warm and playful house backing: Minimoog bass, Rhodes piano and just some sparkles of a very old Roland synth that Lorenz had just bought, and which is now broken.
The second new jam „On the Nightshift“ is a fun stabby tune based on a spiraling chord progression. It loops every three-and-a-half bars, just to make life harder for DJs. A real nice warm groover.
The remix for „Sandpaper“ is a true family affair! Sound Support is the all new project by Lars Dales better known as 1/2 of Detroit Swindle and Lorenz himself. They’ve just released their debut EP on Prins Thomas’ “Internasjonal” label in October this year, here they take Jamie’s vocal into a more dramatic and electronic territory touching
electro grounds. To close things out we also added an instrumental on the vinyl and radio mix on the digital version of this new EP. Enjoy as much as we did putting this together for you!

Philipp Otterbach’s psychedelic music never been a sunshine pleasure pill. But yet, the souls of his notes are deeply gentle. With “Everything Else Matters” the Berlin based DJ and producer now introduces his debut album, that follows a long introduction. Already since a while he devotes himself with endurance to music. He was an early resident at Düsseldorf’s shrine for outernational grooves Salon Des Amateurs. Since 2014 he releases music under his given name or as Grand Optimist on labels like Grokenberger Records, Knekelhuis or Themes For Great Cities and leaves marks as a remixer for artists like DJ Normal 4, Brainwaltzera, Wolf Müller and Niklas Wandt on labels like Growing Bin Records or Second Circle. His long DJ nights and already released music prefigures the spirits, that he now bunched on his first album. It’s a record, that does not want to pursue a straight categorization. It rather aims to spellbound with an atmosphere, that is made for moments in the absence of hysteria. Tribalistic, trip-hopping rhythms, menacing sounds, cold cool vocal passages, drone chants, morbid goth-ambient spheres, Indie rock indications: its many facets meld into some kind of black highway sound for thoughtful night prowlers in a dissociative state of mind. In context all particles achieve delicate sculptural effects that operate like the surprising architecture of a dream. A forward- thinking dream, that bundles something otherworldly, something unspeakable, that lives hauntingly between the sounds, rhythms and suggested melodies.

Martin Deason “Race For The Vaccine” on Third Wave Audio or TWA. This is as some of you who are familiar with Detroit techno might be wondering. It is a collaboration of Detroit third wave artists Gary Martin and Sean Deason. A 2020 start up project for a new label. Perfectly defining the feel of the summer of 2020, “Race For The Vaccine” has the edgy anxious rhythms and epic chords describing a life or death situation. It comes with 2 versions, one with real drums for the more outside of the box DJ and one for the more straight forward DJ.

Randstad is the production and DJ moniker of dutch multimedia artist Thomas van Linge, co-founder of the record labels BAKK and Rubber and freshly relocated to Berlin. After first hearing his rhythmic drum
workout on ‘Metalloid’, his contribution for this year’s ‘Still Life’ compilation, we’re glad to have tapped his second EP ‘These Serpents’ for Veyl. Randstad is pushing his idea across the spectrum of industrialized beat music for this outright roaring 6-tracker ideal to tear down clubs when they finally re-open in 2036.

Brand new studio album! Featuring Captain Sensible and Paul Gray from The Damned, with Johnny Moped drummer Marty Love! Who, what and why are The Sensible Gray Cells? Captain: "Paul Gray and myself being garage psych aficionados would prefer to hear more of this kind of music and this is our contribution to the cause. If I said that some of the songs were 'Damned rejects' that shouldn't be seen as an indication of inferior songwriting.. more that they're not wearing the right shirt." A Postcard From Britain came out in 2013. What have you been up to since then? Captain: "I've never been a prolific writer.. being a lazy so and so I think it's best to wait for inspiration to call.. which explains the 7 year gap..( how many albums could the Beatles have crammed in that period!) but in the meantime PG rejoined the Damned and we've gigged about a bit, which is always fun - CAN WE HAVE GIGS BACK AGAIN PLEASE!" A Postcard From Britain was a snapshot of modern life. Does the new album cover similar themes or have you taken a new direction? Captain: "It's sad that high streets around the world have been destroyed by online shopping but nobody's forcing people to do it.. but what can you do. These are very strange times were living though - I just count myself lucky to have been around to witness the 2nd half of the 20th century.. a fab time for music, culture, ideas.. and that without even mentioning Benny Hill and On The Buses. The new album coincides with all this virus malarkey.. which, unpleasant as it is will undoubtedly be used by the powers that be to tighten the screws on us little people on behalf of their billionaire paymasters. Blah blah, etc. There's a bit of that hidden away in the album."

After their two acclaimed edits EPs, Mister T. Records are now joining forces with LA based producer DJ Duckcomb, to deliver a groovy selection of leftfield italo-disco cuts reworked for dancefloors. One year after the release of their 2nd EP, a tribute to Brazilian music, Mister T. records are now back with a 12” EP showcasing their love for obscure disco and Duckcomb’s amazing digging skills. This record aims to be a tribute to the very special sound of the late 80s electronic music and to both the artist’s and label’s lifelong passion for obscure italo disco.
Famous as a record collector, Duckcomb has also made himself a name by editing forgotten jewels from classic disco to islands reggae. Part of both duos Sharegroove and Trap.Avoid, he’s been
sharing his work and latest discoveries on his bandcamp and soundcloud for years and he has already released two EPs on Universal Cave and Pleasure of Love as well as edits on Cultures of
Soul and Emotional Rescue.
He’s now joining Mister T. Records with a 3-track EP compilation of hard to classify, slow-tempo, disco edits. On the A-side, Duckcomb partnered up with his longtime friend and DJ partner Dino
Soccio, boss of California label Pleasure of Love, for a powerful rework of the German protohouse tune “Holidays”, with a new dancefloor oriented beat and emphasized tropical influences.
On the B-side, he showed his editing skills working on two obscure downtempo tracks with that recognizable late 80s melancholic atmosphere. By removing not danceable parts, building DJfriendly grooves and removing unnecessary vocal parts, he managed to come up with a smooth italo ballad with acid accents on “S.O.S.” and a beautiful balearic new-beat jam on “King (of) a Beat”.

Kumail is a musician, producer, performing artist Mumbai, India. Over the last four years, he has ascended to the very top of India's burgeoning culture of electronic music on two parallel paths - as a gifted musician and bandleader drawing expansive canvases of rhythm, texture and emotion, and as a roughneck DJ notorious for breaking ankles. Having started off plunging deep into lo-fi ambient electronica, Those paths have led him to a DJ set at Dimensions Festival 2018 in Croatia, a string of several live festival dates across India, and extensive touring across the country. In the past, he has shared the stage with the likes of Shigeto, Four Tet, DJ Koze, Teebs, Ratatat, Mount Kimbie and Kutmah, and been featured on Boiler Room, Sofar Sounds and COLORS

The new album "Yasmin" was always meant to be the birth of a new sound for Kumail. After spending his formative years delving into textural lo-fi electronica and textural ambient music, he went searching for a new sound more in-tune with his older, more mature, and more thoughtful self. What began as a study of modern soul music – drawing heavily from R&B, jazz and hip-hop – eventually sprawled to include flavours from across the world and time. 80's Japanese funk, crackling gospel, shiny disco, cutting-edge LA beat music and the omnipresence of Dilla, all leave their faint but indelible mark.

But deep within, Yasmin is a gritty world in which not much is going right. That world borders on real-life struggles with sleeplessness and anxiety, and being cooped up in a room in Bombay, India, which is where (and how) most of this album came to life. Countless nights spent making music to distract from a lack of inner calm and rest.

Despite deliberately steering clear from sampling for his career thus far, a day spent digging in Istanbul ended up inspiring much of the album – not only did that day yield a discovery of Pierre Akendengue's 'Olatano, w'intye so du s' Afrika' (a sample of which appears on 'Obota') but also a range of 80's soul records that transformed Kumail into a student for the next two years. With a renewed focus on musicality, practising playing the piano, learning new songs and improving production skills, Yasmin evolved into a 30 minute mood-board of lush voicings and explorations beyond just beat-making. The ensuing recording sessions featured a line-up of both all-star local session musicians as well as invited collaborators - Sid Vashi and Pink Siifu both deliver memorable features. Despite vocal performances eventually making their way onto nearly all songs on the record, Yasmin was never meant to feature Kumail's singing. With or without vocals, Yasmin's triumph is that it is nevertheless unmistakably the sound of Kumail finding his voice.

In the mid 90's, Julee Cruise and Eric Kupper were signed to the same music publisher, Warner Chappell. Patrick Conseil, who signed both, thought it would be a good idea for them to get together and collaborate. He was correct in that assumption, and this has lead to an enduring relationship, both creatively and as friends. These two tracks were originally intended as demos, but somehow got leaked onto YouTube, with positive response. Eric thought it would be a great idea to remaster the demos, keeping the raw edge, and give them a proper release, some 20 plus years later. Julee enthusiastically agreed.

Having been influenced by the likes of Roni Size, 4 Hero, Jacob’s Optical Stairway, LTJ Bukem and DJ Die (the latter of whom Eric did a collaboration with), Kupper was experimenting with drum and bass. He could often be spotted in London clubs 'The End' and 'The Globe' checking out and enjoying the music and the vibes.

'My Blue Yonder' is one of the few tracks Kupper has ever written lyrics to. They were inspired by his then toddler daughter, Zoe. One day, Eric found his 3 year old on the floor, wrapped up in a blue blanket, looking blissful. When he asked her what she was doing, she replied 'I'm in my blue yonder'. She had heard the phrase in a song from a children's video. Eric then sat down and wrote a moody yet childlike song about a utopia, based on his daughter's likes and dislikes, her joys and her fears. A compelling blend of orchestral arrangements, frenetic beats, and Julee's unique vocal approach. Julee has often commented that it is one of her favourite tracks she has ever recorded.

This collaboration also led to 'Satisfied', with lyrics and melody written by Julee. An ethereal somewhat existential track, with jazzy chords and pulsating arpeggios, it still has Eric's vibe, within a different music style. Julee's beautifully phrased vocals and lyrics bring the track to life, giving it a clear vision.

This is the first release on Kupper's new 'Hysteria misc.' label. A label for all kinds of music, electronic to acoustic, rock to experimental, and 'misc.'...

In Julee’s words, 'Thanks Eric, for doing this. I really love what we did'.

The 20th anniversary year of Dial Records couldn’t have been more exciting for us so far! After the extraordinary well-received release of Soela’s debut-album Genuine Silk and steady excitement around our ongoing series of digital anniversary compilations, we are more than thrilled to announce the second album release of this our very special year: XDB - Inspiron. As a longtime companion and true inspiration throughout the label’s twenty-year history, Kosta Athanassiadis aka XDB enriched our lives with his brilliant productions in the form of countless 12”s and legendary remixes. His long-overdue full-length debut album Inspiron in hand, we find ourselves unpacking the most beautiful jubilee present we could have ever imagined. For almost three decades now Kosta Athanassiadis aka XDB has been involved in the constantly changing world of dance music. His curiosity and dedication to electronic music spiral deep into the depth of House Music and Techno and where ever he appears he generously shares his unique knowledge in this field with equally dedicated crowds. Whether you follow his bloggish “Tracks I do really LOVE”, a collection of club essentials and a library of taste, or you witness one of his remarkable DJ sets from Panorama Bar to Freerotation Festival - XDB will elevate you to one of those unforgettably magical music moments. In 1993 Kosta Athanassiadis started his DJ career in the medieval hometown of Goettingen. To find what he was really looking for, namely, the newest and most exciting new records he frequently had to leave this picturesque city, that is most popular for inventing the traditional Baumkuchen pastry, but has not been on the maps of music connoisseurs necessarily. Frequent trips to visit records stores and clubs around Germany built a network of likely minded people. Some of his favorite and most thought after record labels of the time like the Chicago imprint Relief, or UK's Mosaic, are still fundamental to his very specific musical taste. By the turn of the century, XDB hosted a series of nights at Goettingen's Eletroosho, where he invited Dial’s own Lawrence and Carsten Jost in 2002- the beginning of a still ongoing friendship. He had established himself as a sought after and internationally active DJ and started his fist endeavors into music production as well. Later on XDB founded his own Label Metrolux and released on iconic labels like Sistrum and Wave to be followed by countless remixes for legends like Aaron Carl, Norm Talley and Patrice Scott. An extraordinary stream of gravity connects both, his productions and DJ sets. Once breaking through a seemingly transparent surface, one get’s lost in the beauty and depth of forms and figures. There’s barely DJs and producers who keep searching for this hidden formula in such a microscopically detailed way to pass a lifetime in House Music and Techno on to the world. XDB's Inspiron embraces this unique approach, filters and develops inspirations in an entirely delicate way, and magically emphasizes the desires of the most dedicated listeners and dancers.

There is definitely something "afro" inspired about this latest EP from Puma & The Dolphin, certainly in comparison to pretty much everything else I've ever heard from him, which includes a great EP on Canadian imprint Chambre Noir and some stellar inclusions on every one of Dj soFa's highly respected "Elsewhere" compilations.

I'm told that while immersed in domestic life during lockdown in Sofia, Bulgaria, the music evolved to take in what was happening at home and saw the inclusion of toy instruments, his own drum playing, the voices of his children playing and even the family parrots whistling and squawking in the background. These random ambient insertions when seen in the context of the hypnotic and percussive rhythms and timbres throughout are oddly reminiscent of the late, great Francis Bebey who, although culturally and physically a million miles removed, was also known for recording much of his work at home and who also featured the voices of his children playing.

In fact, it is as much the music's playfulness and simplicity that give the pieces their distinctive character, at times echoing the repetition and mesmerism of Raymond Scott's "Soothing Sounds For Baby" series. Yet, childrens' music this is not. There is a mysticism and depth on one hand and a willingness to experiment on the other that reminds me of pioneering experimentalist K. Leimer's early Eno-inspired tape outings as well (see "Supermarket" for example).

I asked Puma & The Dolphin's Nikko Names if he could share the story behind how these six tracks came together. He had this to say:

"This collection of pieces were created during a monotone period of my life which I have overlaid with colour: a time in which I surrender to the beauty of home life - watching my kids play, feeding the birds - entwining these sounds of my surroundings amongst the rhythmic layers of these pieces. Playing the drums to remind us of the next circle dance for four. There is something mystic to travel only in your head; a shamanic trip inside the body with no concepts and answers."


"Good stuff ... digging Am Am Am and Supermarket in particular" JD Twitch Optimo Music / Blackest Ever Black / Strut / On-U Sound

"Cool stuff" DJ SoFa Pingipung / Emotional Response / Kalahari Oyster Cult

Slick jungle, low-slung broken beat and even a deep house banger, 'Interlocked' assembles 8 tracks of some of the purest old-school vibes by a veteran of the scene under a brand new alias for a frustrated and precarious (post)-lockdown summer. Tapping the drama and energy of the largely pre-generic party days of '91-94 - a halcyon time of transition in which Drumskull himself, as a life-long skater otherwise stoked on the the raw energy of 80s skate video soundtracks - to Black Flag, JFA, Minor Threat, Stupids et al, to Primus, Gang Starr and Meat Beat Manifesto, made the passage into syncopated machine funk, to sub bass, time-stretched breaks and automated beat production.

Physically drumming in a couple of skate punk bands in the early 90s, exposure to hardcore and early jungle tapes in '93 by DJ Dimension and DJ Rob (Leeds Orbit, UK), amongst countless others, inspired an archetypal move to sell his drum kit so as to land a set of Technics 1210s. Spinning techno and jungle on the local free party scene and clubs as part of a DJ collective from '94-96, crafting early tunes on Amiga ProTracker software, and shortly after running club nights in mid-90s London with Mo' Wax and Ninja Tune artists, Drumskull expresses the eclecticism of the era across 8 big tracks of previously unreleased material. Evoking all the energy and excitement of being involved in those early years of dance culture, 'Interlocked' powerfully yet playfully connects then to now, reveling in a sense of timelessness, mutation and hybridity.

Album photography by Amir Zaki from his book with legendary Skateboarder Tony Hawk and author Peter Zellner 'California Concrete: A Landscape of Skateparks (2019). Graffiti lettering by original UK stylemaster and beatmaker REQ TDK.

Daniel Bortz, a staple among electronic music producers, returns with his new album "Stay". After "Patchwork Memories" on Suol from 2013, it's the second album for Berlin-born and Augsburg-rooted Daniel. From his early days of James Blake editing and riding the slow house wave, Daniel has perfected and diversived his production skills over the seven year course between the albums. His range spans euphoric techno, cinematic breakbeats, heart warming electronica and classic deep house, you can witness on his eps for Innervisions, Pastamusik (the infamous Bella Avgvsta trilogy) or even on the legendary DJ Kicks mix series from grandmaster Moodymann, who selected one of Bortz's tracks on his volume. After his three eps (one with his friend and long time collaborator Sascha Sibler and one under his DJ Hotel alias) on Permanent Vacation, Daniel takes the consequential step and releases his second full-length album with the Munich based label. With the 11 tracks on "Stay", Daniel Bortz evokes his teenage years and dreamwalks through his upbringing during the 90's. Musically he brings together what never should have been separated: House, Acid, Downbeat and Breakbeat all rooted in the sample aesthetic of Hip Hop, thereby capturing the full emotional spectrum of life and love. Music that came to stay.

RICO PUESTEL debuts on his TIME IN THE SPECIAL PRACTICE OF RELATIVITY label with a mind-boggling journey of 41 minutes — split in two parts to fit on vinyl! HEPTAKAIDEKA is what it won't be and will be what it never was: Something from in-between worlds, a place beyond far beyond, where time dissolves into relativity...

Every modern electronic music presenter should be able to find joyful, elevated, convulsing or simply useful moments within the extent of this track that is designed to have its inherent connecting factors and starting points in place for every DJ set — letting it be just a few minutes, well-placed groove looping or bigger amounts of its entirety for diving into a long night, bringing it to an end or making it standing out in-between.

Starting off with a hazy half-grasp hint of what's to come, a mysteriously pervasive bionic loop emerges, slowly coalescing with a bone-dry groove on the rise. Taking up a first quadrant of the track, already gnawing into the long-term memory, it manages to gradually establish itself along the pathway while the "rhythmatics" endure some subtle layer-shifting with occult-like strings come sliding in from somewhere unknown like an admonitory subtext.

Being halfway through (and all the way in), everything smoothly crumbles down to its basic framework, still shaking off its own reminiscences while foregone vestiges almost perilously try to reassemble themselves. All of that leading to a clearly unforeseen yet fortunate drift into a 1980's-like synth peak time section after about 27 minutes being in that track, finally cherishing an evolving emotional felicity and the climax of its own being that tends to feel like an overarching salvation.

As everything being eventually finite, the track starts to bring to mind where it came from by assuredly falling back into a story told before with the well-established bionic loop that once used to run free, sounding somehow different and more tamed now. Ending with dignity, the consistently resurfaced admonitory strings lead the way to its conclusion and possibly new beginnings, solely leaving behind the heartbeat-like booming that carried it all, now fading away...

Coming into existence during a series of multiple productions of exuberant proportions with Rico making the studio his citadel-like stronghold, this is an extensive story of desires, instincts, pride, fall, mirth, solicitude, tension, détente and basically life itself while subtly yet versatilely entertaining on a dodgy yet accessible level throughout the wingspread of Techno, House, Minimal, Dub, Electronica and Ambient influences.

The CD version not only brings you the title track in the guise of its non-split completeness but eminently churns out the extra drumming dub treat DEKAEPTA for a pleasurable groove-delight as well as the trippy bonus beauty VOSEM' that transits as a precious component of infinity.

The 7” is arguably one of the 20th century’s greatest art forms (I’m prepared to argue it anyway). What should have been a disposable format, either as the herald for the altogether more serious LP or the truncated version of the extended 12”, ended up a the perfect expression of modern music - tightened up, fat free and to the point.
At some point during a DJ career that’s lasted pretty much the entirety of his adult life, Boca 45 (aka Bristolian Scott Hendy) eschewed all other formats to choose the 7” as his weapon of choice. Embracing and celebrating the limitations of the format (both in terms of record length and the type of music showcased on discs of that size), Hendy set out on a truly singular path for soundtracking parties the world over. In 2015 Banksy personally requested him to DJ with his 45s at the opening night at his Dismal Land Show, now, in his forty fifth year on Planet Earth, he’s made an album that reflects a life well spent flipping through the racks the world over.

On this album he has collaborated with lots of the people that he has previously worked with over the past 20 plus years recording music.

Vocal collaborations come courtesy of Louis Baker (Soul On Top / Move A Mountain) Emskee (Energy Boost / The Roxy) Sergio Pizzorno from Kasabian (White, Blue & Red) & Gee Ealey who i worked with on Malachai (Lonely)

Berlin techno luminary Jamaica Suk announces her most ambitious project yet: Uncertain Landscape.

This 17-track, 4x 12” vinyl release on her acclaimed Gradient label will be released in four installments from Autumn to Winter 2020 and brings together a host of diverse techno talent. She will release a DJ mix featuring all 17 tracks to complete the series accompanied by a film from Anthony Vouardoux. The project is made up of a wishlist of names whose music she has been heavily supporting in her sets over the last few years. “I wrote specific producers inquiring for tracks that would be fitting to the label and also fit the DJ mix that I’m recording from these tunes. I’m looking to promote music that shares the same vision as I do.”

It marks the first original releases on Gradient from producers other than herself, which is a change of tact from her original plan for her imprint. “Initially I wanted to only release my music on Gradient including remixes - but it doesn’t make sense as there’s so much inspiration out there. By expanding the label’s network we create our own tribe.”

Jittery rhythms with a touch of ‘Spastik’ about them propel BNJMN’s ‘Abyssal Surge’ into life, with a big riverbed sound abounding as the track builds through haunting sustained tones and glitching mechanics.

Arthur Kimskii thundering ‘Natasha’ pummels from the first moment, with shuddering sub bass carving its way through the sound field as hypnotic bleeps pulse in the distance. Rapid-fire. Filtering percussive waves accentuate the bassline’s incessant 16ths rhythms, all the while the resonant kicks hammering away beneath.

Wrong Assessment’s ‘The Eight’ is a dissonant avalanche of warped textures, where grunting synth thrusts rub up against industrious pulses and chattering hi-hat patterns weave in and out of the mix. Stuttering bass and cymbal rides complete the urgent feel.

Introspective respite comes from Electro Indigo’s ‘Volcanite’, a stirring piece of broken beat experimentation where graceful pads slide hauntingly over taut kick and bass patterns and beautiful ghostly analog synth notes.

Look out for parts 2-4 coming soon and special audio + visual showcases.

So much legendary hip-hop begins with a misunderstanding. You might not realise it on first or even hundredth listen, but ‘Insane in the Brain’ is a diss track. What has become one of the hip-hop’s most iconic party anthems, and one of Cypress Hill’s biggest hits, started out with them taking offence at Chubb Rock.
He’d flipped some of their lyrics on his own ‘Yabba Dabba Doo’ song in 1992 and the group didn’t like it. While B-Real’s lyrical attack on Chubb is subtle and almost subliminal, Sen Dog spends most of his verse making fat jokes at Chubb’s expense.
It’s a little known beef, hidden beneath the vast success of this single in 1993, with it reaching number one in the US rap charts and proving a pop hit worldwide too. At this stage, the group’s producer DJ Muggs had perfected an idiosyncratic sound all of his own, lending it to tracks for the likes of House of Pain and Funkdoobiest.

Here he melds samples from Sly and the Family Stone and The Youngbloods with a beat lifted from George Semper’s instrumental cover of ‘Get out my life, woman’. Those subtle songs are alchemised into a boot-stomping head-nodder that transcended hip-hop to become a festival favourite, a rise that ended in Ned Flanders delivering the line, “this may sound just a teensy bit insane in the old membrane, Homer,” in The Simpsons.

The only official 7” of this was released in the Philippines, and fetches prices in the hundreds of pounds – this reissue puts a hip-hop classic in crate-friendly form.